Letters

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…