Letters

They correspond, sort of, to this affair’s predecessors; also to the Story Thus Far (thus far unknown to you) of our relation, whereof we are come to Stage D already and shall by this letter be fetched E-ward.

In my student days, Lady, when science had still not purged itself of 19th-century pathos, the first principle of embryology was that Ontogeny Recapitulates Phylogeny: that the evolutionary history of the individual rehearses the ditto of his race. Law too lovely to be true! Which therefore I here take as first rule of my next fiction: its plot shall be the hero’s recapitulation, at the midpoint of his life, of his Story Thus Far, the exposition and complications of its first half, to the end of directing his course through the climax and dénouement of its second. My hero Perseus (or whoever), like a good navigator, will decide where to go by determining where he is by reviewing where he’s been. And inasmuch as my life here in the Lighthouse is itself a species of fiction, it follows that law of reenactment. On May 12, 1940, when I was ten, I found a note in a bottle along the Choptank River shore just downstream from where I write this: half a sheet of coarse ruled stuff, torn from a tablet and folded thrice; on a top line was penned in deep red ink TO WHOM IT MAY CONCERN; on the next-to-bottom, YOURS TRULY. The lines between were blank — a blank I’ve been trying now for 29 years to fill! All my fictions, all my facts, Germaine, are replies to that carte blanche; this, like them, I’ll bottle and post into the broad Choptank, to run with the tide past cape and cove, black can, red nun, out of the river and the Bay, down to the oceans of the world. My Perseus story (if I write it) will echo its predecessors as middle-aged Perseus rehearses his prior achievements, before adding to their number; the house I live in is built from the stones of my family’s history, our past fiascos reconfigured. (And Marshyhope’s up-going Tower of Truth, worse luck for it, is rising on footers of those same false stones.) No wonder, then, dear G, if to my eyes these ABC’s from the N.E.P. spell Q.E.D. E.g.:

1. Ad-mi-ra-ti-on. When first I beheld you in the halls of Marshyhope last fall, an English tea rose among our native cattails and marsh lilies, et cetera. In fact, admirable lady, as a sometime scholar I had admired already your editions of Mme de Staël’s letters and your articles on her connection with Gibbon, Byron, Constant, Napoleon, Jefferson, Rousseau, Schlegel, & Co.; also your delicate commentary on Héloise’s letters to Peter Abelard; also your discreet recollections of H. G. Wells, James Joyce, Hermann Hesse, Aldous Huxley, Evelyn Waugh, and Thomas Mann. Oeuvrewise, milady, we were well met ere we met!

Even if, as I quite imagine, my own obscure, tentative, maverick “writings” (I mean the works of “Arthur Morton King”) have yet to swim into your ken. What must you make, Fair Embodiment of the Great Tradition, of my keyless codes, my chain-letter narratives with missing links, my edible anecdotes, my action-fictions, my récits concrets, my tapes and slides and assemblages and histoires trouvées? No matter: yours not to admire, but to be admired! I know a little of your history; I admire it. I know a bit more of your struggle with our horse’s ass of an acting president, John

who does not even caricature very well…; I admire it. I know what I hear of your kindness to poor old Harrison Mack in his last year or so…; ditto, perhaps most of all.

2. Be-ne-fi-ci-al it has been to my somewhat battered spirit to work with you on the ad hoc nominating committee for the MSUC Litt.D. My curriculum vitae, as you must know from your provostial files, has been on the margins of the academic as well as of the literary establishment; I’ve used the campuses, and been by them used, only in times of material or spiritual want: a chronic but intermittent and seldom intense condition. Enough for this postpostscript to say that Affair E had ended, painfully, last summer: as sore a business as Aeneas’s jilting Dido, but not, I trust, so fatal. Imagine an Aeneas who has ceased to love the queen, yet who for various reasons does not cut his anchor cables and run for Rome, but stays on in Carthage, in the very palace! Too distracted to compose (I was anyhow done with avant-garde contraptions, was looking for a way back to aboriginal narrative, a route to the roots), I lost myself with relief in the easier gratifications of teaching, reading, committee work, and the search for a project to reorient me with my muse: to bridge the aforementioned gap between Whence and Whither.