The Art of Fielding. Chad Harbach

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СКАЧАТЬ scholarly record. Several months later, Oxtin published a long essay on Melville’s Midwestern trip in the Atlantic Monthly — an essay in which Affenlight’s name did not appear.

      At the end of that dismal ’69 season — the Sugar Maples won just one game — Affenlight turned in his helmet. Football had been a diversion; he had a purpose now, and the purpose was to read. It was too late to change majors, but each night when his problem sets were finished, he devoted himself to the works of H. Melville. He began at the beginning, with Typee, and read through to Billy Budd. Then the biographies, the correspondence, the critical texts. When he’d absorbed every word of Melvilleania in the Westish library, he started over with Hawthorne, to whom Moby-Dick had been dedicated. Somewhere in there he’d stopped shaving as well — these were the opening days of the ’70s, and many of his male classmates wore beards, but Affenlight imagined his as something different: not a hippie beard but an antique, writerly one, of the kind that graced the faded daguerreotypes in the books he was learning to love.

      He had also, from his first days on campus, fallen in love with Lake Michigan — having grown up in landlocked farmland, he was amazed by its vastness and the combination of its steadiness and its constant fluctuations. Walking along its shore called forth some of the same deep feelings that his reading of Melville did, and that reading explained and deepened his love of the water, which in turn deepened his love of the books. He resolved to get himself to sea. After graduation, he managed to display enough knowledge of marine biology to win an almost unpaid job — an internship, in today’s parlance — aboard a U.S. government ship bound for the South Pacific. For the next four years he saw much of the world, at least the watery parts, and learned how well Melville had captured the monotony-in-motion of life under sail. He woke in the night, every three hours, to record data from a dozen instruments. With the same regularity he recorded his lonely thoughts in graph-paper notebooks, trying as best he could to make them sound profound.

      After those four years he returned to the Midwest. He’d turned twenty-five, the Age of Unfolding, and it was time to write a novel, the way his hero had. He moved to a cheap apartment in Chicago and set to work, but even as the pages accumulated, despair set in. It was easy enough to write a sentence, but if you were going to create a work of art, the way Melville had, each sentence needed to fit perfectly with the one that preceded it, and the unwritten one that would follow. And each of those sentences needed to square with the ones on either side, so that three became five and five became seven, seven became nine, and whichever sentence he was writing became the slender fulcrum on which the whole precarious edifice depended. That sentence could contain anything, anything, and so it promised the kind of absolute freedom that, to Affenlight’s mind, belonged to the artist and the artist alone. And yet that sentence was also beholden to the book’s very first one, and its last unwritten one, and every sentence in between. Every phrase, every word, exhausted him. He thought maybe the problem was the noise of the city, and his dull day job, and his drinking; he gave up his room and rented an outbuilding on an Iowa farm run by hippies. There, alone with his anxious thoughts, he felt much worse.

      He returned to Chicago, got a job tending bar, resumed his reading. With each new writer he began at the beginning and proceeded to the end, just as he’d done with Melville. When he’d exhausted the American nineteenth century, he expanded his reach. By absorbing so many books he was trying to purge his own failure as a writer. It wasn’t working, but he feared what would happen if he stopped.

      On his thirtieth birthday he borrowed a car and drove up to Westish. Professor Oxtin, thank God, was still alive and compos mentis. Affenlight, with a calm determination that stemmed from desperation, reminded the old man of the capstone that the Melville lecture had placed on his career, and of Oxtin’s failure to credit him in the Atlantic article. The old man smiled blandly, not quite willing to admit or refute the charge, and asked what Affenlight wanted.

      Affenlight told him. The old professor lifted an eyebrow and walked him down to the campus watering hole. There, over beers, he administered an impromptu oral examination that ranged from Chaucer through Nabokov but dealt mainly with Melville and his contemporaries. Satisfied, perhaps even impressed, the old man placed the call.

      That September Affenlight trimmed his beard, bought a suit, and began Harvard’s doctoral program in the History of American Civilization. There he became for the first time — excepting a few lucky moments on the football field — a star. Most of his fellow students were younger, and none had achieved so desperate a grasp on the literature of his chosen period. Affenlight could drink more coffee, not to mention whiskey, than the rest of them put together. Monomaniacal, they called him, an Ahab joke; and when he spoke in seminar — which he did incessantly, having suddenly much to say — they nodded their heads in agreement. Thirty-page papers rolled out of his typewriter in the time it had taken to write a single paragraph of his not-quite-forgotten novel.

      At first, Affenlight felt uneasy about his newfound sense of ease. He considered himself a failed writer, nothing more, and there didn’t seem to be much honor or grandeur in having read some books. But soon he decided — whether because it was true or because he needed it to be true — that academia was a world worth conquering. There were fellowships to win, journals to publish in, famous professors to impress. Whatever he applied for, he got; whatever he hinted he might apply for, his classmates shied away from. His successes were social as well. He’d always been tall, square-shouldered, and striking; now he had a purpose, an aura, a name that preceded him. The Cambridge ladies come and go / from Guert’s flat at 50 Bow. That was another joke of his classmates, and it was true.

      He wrote his dissertation in the kind of white heat in which he’d always imagined writing a novel — the kind of white heat in which his hero Melville, over six torrid months in a barn in Western Massachusetts, had written the greatest novel the world had ever seen. The dissertation, a study of the homosocial and the homoerotic in nineteenth-century American letters, turned into a book, The Sperm-Squeezers (1987), and the book turned into a sensation: academically influential, widely translated, and reviewed in the Times and Time (“witty and readable,” “augurs a new era of criticism,” “contains signs of genius”). It wasn’t Moby-Dick, but it sold more copies in its first year than The Book had, and it became a touchstone in the culture wars. At thirty Affenlight had been nobody; at thirty-seven he was debating Allan Bloom on CNN.

      Just as abruptly, he’d become a father. While preparing the book for publication, he’d been dating a woman named Sarah Coowe, an infectious-disease specialist at MGH. They were evenly matched in many ways: sharp-dressed, sharp-tongued, and devoted to their careers and personal freedoms to the exclusion of any serious interest in so-called romance. They spent ten months together. A few weeks after they broke up — Sarah initiated the split — she called to say that she was pregnant. “It’s mine?” asked Affenlight. “He or she,” replied Sarah, “is mostly mine.”

      They named the child Pella — that was Affenlight’s idea, though Sarah certainly had the final say. For those first couple of years, Affenlight conspired as often as he could to show up at Sarah and Pella’s Kendall Square townhouse with expensive takeout and a new toy. He was fascinated with his daughter, with the sheer reality of her, a beautiful something where before there’d been nothing. He hated kissing her good-bye; and yet he relished, couldn’t keep himself from relishing, the total quiet of his own townhouse when he walked in, the scattered books and papers and lack of baby-proofing.

      Soon after Pella turned three, Sarah received a grant to go to Uganda, and Pella came to stay with Affenlight for the summer. In August came the news: Sarah’s jeep had rolled off an embankment, and she was dead. Pella was half an orphan, and he was a full-time father.

      After a perfunctory stint as an assistant professor, during which a series of winks and perks from the administration kept Stanford and Yale at bay, Affenlight was awarded tenure. He never mustered another major project like The Sperm-Squeezers, but his lectures were the department’s most popular, and the grad students vied fiercely for his favor. He reviewed histories for СКАЧАТЬ