Letters

by John Barth

  Given two so agreeable alternative candidates, why did I, a month or two later, become Harrison Mack’s mistress? To begin with, after Fort Erie I had resolved, as I’ve explained, to try to put André behind me, for the sake of my own sanity, though of course etc. And I have never been given to celibacy! Had either Andrews or Morgan shown particular interest—but they didn’t. Morgan was perhaps the likelier possibility, though rather young for my taste (i.e., about my own age); but before we came to know each other well enough for me to tell him about André, for example, and explain his relationship to Cook, Morgan had resigned, gone to Amherst, “freaked out,” and disappeared. Andrews I found (and find) attractive too, despite the Eastern Shore brogue and Southern manner; we became and remain affectionate friends. But though a confirmed bachelor, he has, I gather, other, more established female friendships, and in his late sixties is no libertine.

  With his urging joined to Jane’s and Doctor #2’s, I spent much time at Tidewater Farms after Jane left, when too Harrison’s manner somewhat altered. As his general condition rapidly declined, he grew at once madder and more lucid. The wife he’d had “when he was in the world,” as he came to phrase it, he pitied, admired, and understood well, in my estimation; he hoped “the real George III” had been as fortunate, on balance, with Queen Charlotte. He was glad Jane was not present in his “final stages,” for both their sakes; they had loved each other, he was certain she still wished him well, as he did her, and he had no doubt that widowhood would be a relief for her. He knew now, more often than not, that he wasn’t “really” George III—“any more than George III was, in his last years”: that he was the victim of a psychopathological delusion, whose cause and possible cure remained mysterious and were of no further interest to him. The world of Harrison Mack, Redmans Neck, 20th-century America, caused him great pain; the world of George III, Windsor, early 19th-century England, was somehow soothing, never mind wherefore. An inoperable patient, he craved now only palliation. With Jane’s long-distance consent we discharged Doctor #1, and left #2 on call merely in the event of some unforeseen lapse of control. He was summoned only once thereafter.

  Harrison begged me to move into the house: it was convenient to the campus; it was big enough so that I need endure his company no more than I wished; his own library was as good as the college’s; I wouldn’t need to bother with marketing, cooking, housekeeping. Even the masquerade would not be very tiresome (no costumes required!), since we could freely discuss anything so long as he could speak of me as Lady Pembroke: I could leave it to him, as he left it to his madness, to do the complicated translation. From London, Jane seconded the motion. I consulted Andrews, who warmly approved.

  If I never loved His Majesty, I truly liked him, and never simply pitied him. I meant to move out as soon as Jane returned, but she stayed on, somehow managing Mack Enterprises by remote control. In the first half of ’68, especially, Harrison was a delightful companion: witty, generous, thoughtful. In my absence, so the house staff reported, he gave free rein to his follies: that we must fly to Denmark to escape the deluge; that we were aboard Noah’s ark; that it was not too late to undo the fiasco of the American War. Directly I returned, the George/ Elizabeth business became little more than an elaborate (if unremitting) way of speaking. Somewhere along the road our good friendship came to include sleeping together: my memory is that one snowy night in January, as I read student essays and sipped brandy by the fire and Harrison played Jephthah’s lamentation on the harpsichord, he suddenly said: “Let’s redo history, what?” And then proposed that, since the king and Lady Pembroke never did get to bed together, and since we weren’t really they, we improve the facts by doing what they didn’t.

  “Dear Germaine,” he concluded, “I should enjoy that very much.” Had he not used, that once, my real name…

  My person and modest competency never so gratified a man, before or since. You will want details: there are none, particularly. Seventy is not impotent, except as alcohol, illness, or social conditioning have made it so; it has no stamina, loves its sleep, will not stand without coaxing, draws aim more often than it fires—but it will go to’t, smartly too, with the keener joy in what it can no longer take for granted. Harrison relished each connexion as he relished fine days and dinners, knowing he had not a great many left. Jane had put sex behind her years since; the chap was starved for it, and knew what he was about. I have made sorry choices in my life: becoming Harrison’s Lady Elizabeth was not one. A pleasurable semester.

  During the which, whilst I waited word from André or a fair glimpse of our son, and endeavoured to impart to my Marshyhopers some sense of what is meant by the terms Renaissance, Reformation, Enlightenment, Romanticism (but how, when almost nothing their eyes fall upon was there the day before yesterday?), and watched poor embattled Morgan yield at last on the misbegotten Tower of Truth, and confirmed my addiction to oysters in any form, I tried in vain to mend the old quarrel between Harrison and his son, whom I came to know and rather like. (The daughter Jeannine—“Bea Golden”—was another matter: between drying-out visits to that Fort Erie “sanatorium,” she was busy divorcing her third husband out in California and—what we didn’t know at this time—attaching herself to Mr Prinz.) On this subject my friend was truly deluded: he believed his son an unprincipled weakling and Reg Prinz, for some reason or other, a scrupulous fellow, when from all I could observe Drew Mack was, if somewhat gullible, the very soul of moral principle, pursuing ardently what he believed just and good, whereas Prinz (whom too I saw once or twice more that year) has I daresay no principles at all except cinematographic, and even those he seems to improvise on the run. Suffice it as illustration of their scrupulosity that Drew—who had no salary, worked without pay for his liberal causes (to which he also donated his trust income), and frankly coveted his parents’ wealth for the sake of these same causes—never to my knowledge imputed mercenary motives to my liaison with his father, whom he was gratified to see so happy in my society. Whereas Prinz, in a rare burst of sustained verbality, advised me one evening in June, just after Harrison’s great seizure: “If he leaves you a bundle, put it into the flick. Double or nothing.”

  I had thought to travel that season; north from the Chesapeake at least, whose muggy summer nights I had sampled in September. Perhaps to France, to visit “Juliette.” But word came from Jane, of the most unexpected and circumlocutory sort, that “interests of a personal nature” were holding her in Britain; apprised that her husband of some forty years had taken a turn for the worse, she satisfied herself by transatlantic telephone that he was not dangerous or dying, authorised me and Doctor #2 to take whatever measures we thought necessary to provide for his comfort, hoped we would inform her at once of any crises, and begged me to stay on at Tidewater Farms at least for the summer “in my supervisory capacity,” at a salary of, say, $500 a month “over and above”!

  I declined the salary for myself, looked about tor someone else to hire with it, found no one even remotely suitable except Yvonne Mack, Drew’s wife, who refused unless her father-in-law, “crazy or not,” recanted his racism and fully reinstated his son and herself in his favour. Alas, Harrison was beyond doing so. To him she was the cast-off Princess of Wales, “hot for the king’s John Thomas, what?” No lucid side to his hallucinating now: Harrison believed us seventeen years old and immortal; he declared he’d raised his daughter Amelia from the grave (and conversed touchingly with the ghosts of Drew and Jeannine Mack when they were babies); he dressed in white robes and let his beard grow. He took his bed to be “the Royal Celestial Electrical Bed of Patagonia in the Temple of Health and Hymen on Pall Mall,” and guaranteed me a healthy child if I would make love with him in it. Dr #2 (whom I fetched in, who could do nothing) became “Dr James Graham, M.D., O.W.L.” (O Wonderful Love), the inventor of that same bed, a Scottish quack who claimed to have learnt electricity from Ben Franklin and herbal medicine from the Indians; “George III the First” had declined his offer of treatment in 178
8, but by charging £50 a night for the use of his famous bed and attracting to his temple such worthies as the Scotts of Edinburgh (who brought young Walter there in vain hope of restoring his withered leg), the good doctor had earned almost as much as our #2. I declined: he seldom knew me now even as Elizabeth.

  I “supervised” Harrison through the fall—no labour, only a sadness—when too, after Morgan’s departure, I assumed the real labour of the acting provostship at Marshyhope. This for the reasons set forth in my first letter, plus one other, which you will now understand: unbelievably, on Guy Fawkes Day, beyond Hubert Humphrey’s defeat by Richard Nixon… nothing happened! I had scarcely doubted that this was the date André had waited for; was cross in advance with his damned rituality. Schott had won the field at Redmans Neck; had already made his unexpected offer (perhaps at Cook’s inscrutable prompting?), and I’d asked for a week to consider it—actually to learn whether André wanted me elsewhere. I had no other invitations or income. Lyndon Johnson had vacated the presidency, Robert Kennedy and Martin King had been assassinated, the Democratic convention in Chicago disrupted; the Left was everywhere in disarray; it was past time for André to make whatever grand moves he had in mind. We’d even cancelled our fireworks (Harrison no longer followed the calendar anyroad), lest they be mistaken for a premature Republican celebration on the one hand or an armed student rising on the other. I sat up past midnight with the dreary election returns on the telly, waiting for the phone, the doorbell, a special-delivery letter at the least—His Majesty beside me clucking his tongue at what his mutinous colonies had come to.

  Nothing! In a state of mild shock I accepted Schott’s “promotion”; prepared to stay on, out of dull necessity, where I had no wish nor other reason to be; notified Jane that I would be moving out of Tidewater Farms before the spring semester in any case, as Harrison needed his Lady Pembroke no longer, only his trained nurses (he was making his own floods by this time, in the Royal Celestial Electrical Bed of Patagonia—and, yes, ordering his feces freeze-dried by Mack Enterprises, to “fertilise the hereafter”). On 14 January—anniversary for me of Germaine Necker’s marriage to the Baron de Staël in 1786; for Harrison, of Congress’s ratification of the Treaty of Paris two years earlier—he suffered the stroke that blinded and half paralyzed him. Jane flew home; I withdrew to the flat I’d scarcely tenanted since hiring it. A fortnight later the second stroke killed him.

  Among the mourners at my friend’s funeral were Prinz—whose mistress Jeannine Mack now openly was—and Ambrose, already engaged by him to write the screenplay from your fiction. Have I told you that Harrison never knew it was a story of yours that Prinz meant to film? (The foundation’s subsidy was for an unspecified film project set in the tidewater locale.) That he lent his support to a medium whose novelty he disliked, only when Prinz assured him that the film would “revise the American Revolution” and “return toward the visual purity of silent movies”? (George III was very big on purity in his latter days.) I myself was at the time unaware of and uninterested in the nature of his and Ambrose’s project, and cannot tell you whether Harrison and Jane ever read the novel in which you feature them: Tood Andrews has done, and seems to hold no grudge. He, Jane, Drew, Yvonne, Ms Golden, and John Schott were there, others I didn’t know… and A. B. Cook… and with him an impassive, reticent young man whom he introduced as his son Henry Burlingame.

  I don’t know, John. He seemed about the right age. He could be said to resemble either Cook or André or me at least as much as “Bea Golden” resembles Harrison or Jane (or Todd Andrews). He spoke—when at all—with a slight Québécois accent, but spelled his name with a y and made no reply to Cook’s stage-whispered tease that the accent was affected. In the same mock whisper Cook declared to me that he’d asked his son on my behalf about the impostor I’d mentioned at our last meeting—that chap who claimed to be a relative? And that Henry had denied having ever heard the name Castine except, like himself, in the annals of colonial America. But who knew whether to believe a cunning rogue like his son? And he supposed we oughtn’t to mention colonial America in the house of the late lamented, what?

  So I don’t know. If Cook had whipped off a wig, changed teeth and voice, donned eyeglasses, declared himself André Castine, and proposed marriage on the spot, I still wouldn’t know, wouldn’t have known (though I’d no doubt have said yes).

  Will you believe that whilst I waited for a sign from heaven, tried to hold onto what reason remained to me after so long, so much, so many—half of my belongings still upstairs in Jane’s house!—I traded polite condolences with the company, approved the gentle ironies in Todd Andrews’s eulogy (a gloss on the motto of the college: Praeteritas futuras fecundant, “The past fertilises the future”), made sarcastic quips with Ambrose about Cook’s funeral ode, and said nothing to the young man whom perhaps I carried in my womb for nine months and five thousand miles, brought into the world, have scarcely seen since (and have not seen since)? I… had not the strength, have not, to beard the lion (and eyeglass him, etc.) in his den; to lay siege to Annapolis, Bloodsworth Island, Castines Hundred; to press, press until no mysteries remain. Because… what then? I had abandoned the boy-child; what claim had I on the man?

  Ambrose, till then an affable colleague merely, saw me home and did me some services after at Tidewater Farms; our closer connexion dates from there. Clearly André has abandoned me for good. I am endeavouring to make it so: for good. This confession—whose readiness you now understand, whose prolixity you pardon, as I trust you now understand (no pardon called for) my susceptibility to the blandishments of Ambrose Mensch—this confession is the epilogue to the story, finally done. When I report to you that my “love” (oh bother the quotation marks!) for your erstwhile friend, especially since this chaste Third Stage of our affair commenced, grows determinedly, you will know what I mean. My whole romantic life, I am trying to persuade myself, has, like the body of this letter, been digression and recapitulation; it is time to rearrive at the present, to move into a future unsullied by the past.

  It is time, most certainly, to end this endlessest of my letters (I’ve long since been back at 24 L; all’s apparently calm at Marshyhope; I am alone; it’s near midnight). But now the history is done, I must finish the tale of Prinz and Mensch it interrupted. After Prinz’s two-word rejection—“too wordy”—of Ambrose’s nearly wordless draft of the screenplay opening, it was decided between them (with your approval, I hope and presume) that since the text in hand was in itself essentially noncinematic, they would, if not quite set it aside altogether, use it merely as a point de départ for a “visual orchestration of the author’s Weltanschauung”: Ambrose’s deadpan phrase, in his explanation last night to the Marshyhopers of the sequence they were about to appear in. They will therefore freely include not only “echoes of your other works” and (don’t ask me) “anticipations of your works in progress and to come”—things you may not even have thought of yet, but “feasibly might, on the basis of etc.”—but anything Ambrose might think suitable in his new capacity—you’re aware that he’s an actor in his own script now, hired to play the role of Author?—or Prinz in his double aspect of director and, as it were, Muse. (He too is on both sides of the camera!) Still myself only halfway through your Sot-Weed Factor novel, for all I know to the contrary there may be in your works yet for me to read a Rip Winklish narrator who lives the first half of his life in the years 1776-1812 and the second half from 1940 to 1976, with a long sleep between in the Dorchester marshes. Or is he among those “anticipations”?

  In any case, I know for a fact that what ensued was their improvisation. This anonymous or polynomial narrator—Ambrose, half jestingly, calls him by his own nom de plume, “Arthur Morton King”—in his movement from the First through the Second Cycle of his life (it is not clear, to me, whether in 1969 he is 29 or 65 years old), comes upon the student activists preparing to seize the administration building of a college built on what he remembers to have been an Indian burial
ground, a Loyalist hideout in the Revolutionary War, and the site of a minor skirmish with Admiral Cockburn’s fleet in the War of 1812. Stirred but puzzled by the youthful call to arms (as I am puzzled by his puzzlement: is he not alleged to have been awake since 1940?), “Arthur” would join the students, but first asks them to explain who “our” enemy is, and what we mean to do with the college after we seize it. He insists likewise on hearing out the spokesmen for the administration…

  It would not have worked at Berkeley or Buffalo; not even at College Park across the Bay. To give my pink-necks their due, it would not likely have worked here either, had Drew Mack been on campus, and had Ambrose not further disarmed the skeptical by instructing them to be skeptical; to suspect him of being planted by the F.B.I., or the C.I.A., or at least the administration; and to hoot down any attempt by Todd Andrews (who volunteered to act as the acting president’s spokesman) to reply to their harangues. But the chief strategy—Ambrose’s, not Prinz’s, who somehow made it clear to the students that he didn’t care one way or the other how the scene ended—was the grand diversion of cameraman, audio and lighting technicians and equipment, interruptions to reposition, rephotograph, rerecord, reconsider; Prinz’s vertiginous insistence that these repositionings and such be themselves photographed, not to falsify “on the ultimate level, you know” the cinéma vérité; Ambrose’s sudden inspired order to a young woman shouting obscenities, “Now! Now! Take off your clothes!” and to a dazed campus cop, “Now you pretend to arrest her!” and to the students who then pummelled the cop, “Cut! Cut! That’s great! Let the camera close in on her now!” Whilst Prinz hand-signalled quite different instructions to his crew, and the second camera filmed him so doing. “Now you decide we’re co-opting you!” cries Ambrose. “Somebody ask whether there’s even any film in the fucking cameras! Easy, those mothers are expensive. Now you chant ‘Off the media! Off the media!’ while we retreat! Tomorrow in Ocean City, south end of the boardwalk, got that? South boardwalk, by the funhouse! ‘Off the flicks! Off the flicks!’ “