Letters (44 page)

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!’ “

Et cetera, until half the kids are laughing, most of the rest too confused to get their indignation organised, and the handful who try to storm Schott’s office easily stopped in the corridors, out of view, by the main body of campus police, who then usher them out a rear door, lock the building for the night, and patrol its vicinity till today.

When, I daresay—tomorrow too if the weather holds fine—my lover, the author turned actor, will have improvised, may be even now improvising, “the Funhouse Scene” at Ocean City, with his nondirective director, his cast of ex-activist amateurs, and his professional (if not expert) co-star…

But here my pen falters, and not only from writer’s cramp. A tiny—
yes, jealousy
—keeps me from sleep, though it’s now the first hour of, ah, the 11th. Of that painful American invention, Mother’s Day. I return now, for comfort and solace, to your hapless virgin poet Eben Cooke and his too-familiar mentor Henry Burlingame III, wearily wondering whether your novel is not some enormous coded reply-in-advance to these letters. What turns lie ahead in its plot? In mine? What have you in store for your exhausted

Saturday, 17 May 1969

Dear J.,

Mirabile, mirabile, mirabile dictu!
Three miracles in three days! The plot of our lives as turned and returned as a baroque novel’s!

1. Mr A. B. Cook VI—to the entire astonishment of our ad hoc nominating committee and the great but discreetly concealed delight of two-thirds of its membership
(i.e.,
myself and Ms Wright of the French Dept: a far cry from dear “Juliette,” but worlds away withal from Harry Carter: “Mr Wrong”)—thanked us by letter three days ago for the honour of our invitation… and declined!

Declined,
John! Oh, that I were after all a writer, or had had Reggie Prinz’s cameras, to catch forever Harry Carter’s crestfall when I read that letter aloud! Which he must then inspect with his own eyes, hold to the light, examine the blank verso of, the signature, the return address, the postmark and cancelled stamp on the envelope (CHAUTAUGUA MD, spelled with a
g
where yours is
q
’d; and an American Legion commemorative), as if looking for some clue that the laureate’s no was a cyphered yes, or that I’d forged the letter. Ms Wright at last crisply opined that, given the lateness of the season, we had better propose Mr Mensch’s name at once to President Schott, and hope our colleague would not follow your and Cook’s example.

A fortnight earlier, at the crest of our “Second Stage,” I’d have blushed, if not dismissed the idea outright. But Ambrose and I had been that fortnight sexless, as you know, and while my heart had in large measure taken over from my orifices the labour of his admission and receipt, so that now I loved where then I’d merely lusted, the complete propriety of this “Third Stage” lent me sufficient “cool,” as the students say, to pretend to consider the matter for some moments before seconding his nomination. Ambrose
had
been of considerable assistance in containing the late demonstrations, and his presence on the platform might just discourage the activists’ turning our commencement exercises into yet another, as has been happening elsewhere. The modesty of his literary credentials is attributable in some part to his avant-gardism: “concrete narrative” is not poured out ready-mixed by the cubic yard! And if I myself remain less than utterly convinced that such desperate innovation as his is “the last, radical hope for the profession of letters,” I can in good conscience at least honour that apocalyptic argument.

I called for the question: two-nothing in Ambrose’s favour, Harry Carter abstaining in the spirit of a diplomatic emissary awaiting instructions from his government. Considering the date, I proposed we ring up at once both Mensch and Schott to insure their informal agreement before sending our formal invitations. Carter telephoned our acting president (to whom, a subscript apprised us, Cook had sent a copy of his letter); I telephoned Ambrose at the Lighthouse—a.k.a. Mensch’s Castle, his brother’s house—and heard for the first time, with a proper pang of jealousy, the voice of Magda Giulianova Mensch. Did it catch at the accent of my own, which she too was hearing for the first time and must surely recognise?

“I’ll call him,” she huskily intoned. What a vulnerable, what a stirring, what a
sexual
voice! Which then called, “Ambrose? Telephone,” up some nearby flight of stairs which I had yet myself to see, but which
l’Abruzzesa
had doubtless many times ascended, crooning
Ambrose?
in even sultrier tone. I heard children’s voices in the background—no, one child’s voice, his backward daughter’s, to be sure;
her
normal twins would be at school, or at work. I was smitten with envy, jealousy, rekindled desire—the objective, no doubt, of our Third Stage abstinence. When she said, “He’s coming”—her voice as throaty as if
she
were—my “Thank you” was gruff and mannish as John Bull. And when Ambrose, fetched from his writing desk, dully hello’d me, I found myself declaring despite myself, for the first time to him, and in a lump-throated whisper, not “acting Provost Pitt here,” but “I love you.”

!
(As my lover would put it in his own style of dialogue.) Fortunately I had withdrawn from the conference room to my inner office to make the call; Carter to Ms Wright’s, hard by, to make his (Miss Stickles, who would normally have placed both, was out to lunch). When we reconvened, we were both somewhat disappointed: Carter because Schott now warmly ratified our nomination, hoping only that, in reciprocation of the honour and in gratitude for Cook’s gracious deferral thereof, Ambrose would consider the incorporation into his screenplay of some Splendid Ideas that Cook had proposed to Schott in a handwritten postscript to
his
copy of the letter to our committee: ideas concerning not only the Tower of Truth, but the burning of Washington and the bombardment of Fort McHenry in the War of 1812… and I because Ambrose, so far from immediately accepting, in whatever spirit, our nomination (for first proposing which, sir, I am as grateful to you now as my thanks are belated), was stipulating that the honorary doctorate be awarded to his nom de plume “Arthur Morton King”! I could not imagine Schott’s welcoming so irregular a proviso, any more than Ambrose would welcome those “splendid ideas” of A. B. Cook’s (There is nothing in your fiction, is there, of Admiral Cockburn’s Chesapeake expedition in 1812?). Where would we turn next with our wretched degree? Finally, some intuition told me that Mrs Peter Mensch had forgiven her intermittent lover his affair with me. Ambrose was telephoning Schott directly and promptly, at his own insistence, to spare me the brokering of their respective stipulations and to expedite, on the committee’s behalf, his decision. He would ring back promptly. I was relieved but pessimistic—and disappointed yet further, I realised as we adjourned, that he had not accepted the bloody distinction simply as a loving favour to yours truly.

The good news came, however, from Schott himself, not a quarter hour after we’d glumly gone our professorial ways:
Great guy,
this Mensch! Had welcomed Cook’s suggestions,
ever’ doggone one!
Thought he might even find a part for Mr Cook himself in the movie,
how ’bout that!
As for the pen-name business,
damn good idea!
Gave the
whole show more class,
if you asked him; made it more
what you might call literary?
And that was
the name of the old ball game, right?

Thus our ad hoc committee came at last
ad hoc,
and is no more: on 21 June our friend “Arthur Morton King” becomes Marshyhope U’s first Doctor of Letters! How came this miracle to pass? Wherefore this sudden deference of A. B. Cook’s, this sweet rage for accommodation of John Schott’s and Ambrose’s? I burned to know; but my curiosity must itself needs be deferred when Miracle One was yesterday eclipsed by

2. A warm mid-May evening: Friday, thank God, and the last day of classes for the spring semester. A week-long “reading period” has begun (Is there a research library on the boardwalk at Ocean City? For thither have flown the student body), to be followed by final examinations and, three weeks after
that
—when nine-tenths of our students and staff will surely have scattered for the summer—our belated commencement ceremonies. The official reason for this delay is to combine the awarding of degrees with the cornerstone laying of Schott’s Tower of Truth, far behind the schedule of its construction. It is an open secret among us administrators, however, that the real reason is Schott’s fear of activist disruption: he has anxiously enquired of Ambrose whether “the right camera angles” can make his minions into a multitude. But I digress, savouring the anticipation of what’s next to write as I savoured the anticipation of my lover’s visit, who had rung back after all in the evening of that eventful Wednesday to invite me to cocktails aboard Todd Andrews’s ancient sailboat, moored in the municipal harbour, and dinner afterwards somewhere across the river. We were, he felt, at the end of our Third Stage and the commencement of our Fourth: he much wanted to talk to me on that mysterious head, bring me up to date too on his adventures with Prinz and Co., and speak of Other Things—his past and our future—which his preoccupation with movie making had kept him from communicating to me till now. Have I mentioned that in the six weeks since he mailed me that abortive confession of “Arthur Morton King’s,” ostensibly addressed to an anonymous Yours Truly and sent floating down the tide, I’ve received no further “love letters” from him? And that with the close of our seminiferous Second Stage he ceased reading these weekly letters to you?

He offered to fetch me in from 24 L; I decided to drive instead, I’m not sure why: the portentous announcement of an impending change in our connexion, perhaps, however cheerily put, suggested the precaution of vehicular independence. As it turned out I rode in in Jane Mack’s chauffeured limousine, seldom seen in Dorset Heights since Harrison and I vacated Tidewater Farms. Jane too was to be Mr Andrews’s cocktail guest; she and “dear Toddy,” she apprised me en route to Cambridge, were old old friends, dear dear friends; I wasn’t to be fooled by his down-home manners and modest law practice into underestimating his professional ability: a first-class legal mind, whose counsel she’d prefer in really thorny matters to that of Mack Enterprises’ whole legal department. Did I know that it was his adroitness in the probate courts, some thirty-odd years since, that had rescued her late husband’s inheritance and made possible the firm’s expansion from mere pickle pickling to its present conglomeration of enterprises?