Letters

Nor will this letter as I’d planned. It’s past one now: I must see to what chores and errands I can, against the return of… Ambrose (I had, for an hour, forgot which letters now follow that dear initial) at teatime, when our weary, sated flesh will to’t again. These two ounces of history he shall not see: André Castine is not his affair. I permit myself this epistolary infidelity — who am too pleine these weeks to think of any other!

Thus has chronicling transformed the chronicler, and I see that neither Werner Heisenberg nor your character Jacob Horner went far enough: not only is there no “non-disturbing observation”; there is no non-disturbing historiography. Take warning, sir: to put things into words works changes, not only upon the events narrated, but upon their narrator. She who saluted you pages past is not the same who closes now, though the name we share remains,

As ever,

Germaine

Y: Todd Andrews to the Author. Acknowledging the latter’s invitation and reviewing his life since their last communication. The Tragic View of things, including the Tragic View.

Todd Andrews

Andrews, Bishop, & Andrews, Attorneys

Court Lane

Cambridge, Maryland 21613

Friday, April 4, 1969

Sir:

Your singular letter of March 30, soliciting my cooperation as model for a character in your work in progress, reached me approximately on April Fool’s Day. Today, which my calendar tells me is the anniversary not only of Martin Luther King’s assassination but also of Adam’s creation according to the Mohammedans and of Jesus’s crucifixion according to the Christians, seems appropriate for my reply. The more so since, if that chap in southern California turns out to have correctly predicted Doomsday for 6:13 this evening, my longhanded no will never reach you, and you will be free to do as you please.

The motto of one of our corporate clients, very big in the chemical-fertilizer way, is Praeteritas futuras stercorant. Not just my merely legal Latin, but my experience of life (your letter not excepted) makes me wonder whether the past (a) fertilizes the future, (b) turns into shit in the future, or (c) turns the future into shit. This year — my 70th, sir — the past has crowded in on me apace (cropped up? rained down?), faster than I can… um… digest it.

E.g., my old friend Harrison Mack died, as you may have read in the Times, in January. His funeral brought Mrs. Mack back to Tidewater Farms and, briefly, their two grown children: the “actress” “Bea Golden” (née Jeannine Mack) and the “radical activist” Andrews Mack, named after my “conservative-passivist” self. I enclose for your perusal a photocopy of the 1969 installment of my Letter to My Father, describing this event. Mrs. Mack has not only stayed on, but wishes to retain me as her counsel in the apparently upcoming contest over Harrison’s estate, as well as in other matters. Young Mack also, whose relations with me have not always been cordial, passes through on sundry dark enterprises of his own and, between ominous announcements that Marshyhope College’s “Tower of Truth” must fall like the Rotten Capitalist Society It Represents, offers grudgingly to engage me against his mother in the same contest, he having learned from V. I. Lenin that the institutions of the established order may legitimately be exploited to their own ultimate subversion.

Jane Mack (who is, more power to her, a handsome and vigorous 63 and a wealthy woman in her own right) wants the estate diverted to her new fiancé: a titled but no longer affluent fellow whom we shall call “Lord Baltimore,” though he is no Marylander. Drew wants it to finance a Second American Revolution. Neither seems to imagine that I might consider it my prior responsibility to defend the interests of the Tidewater Foundation, Harrison’s principal beneficiary, for whom my firm has long served as counsel; far less that I might simply wish to see my late friend’s testamentary desires, however eccentric, faithfully executed. Had he instructed me to liquidate his holdings and float the proceeds out on the Choptank tide, I would endeavor to do it.

In all this, of course, and much that I have not mentioned, I see mainly the reenactment of a certain earlier drama: the stercoration of the present by the past. And the prospect of refloating that particular opera gives me, let’s say, a sinking feeling.