Talent. Juliet Lapidos

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СКАЧАТЬ claimed that Freddy was critiquing capitalism and the way a profit-motivated society teaches men and women to treat each other like objects. Feminists read it as an empowering revenge story. Women have needs too. Women should realize that they, too, have the right to discard unsuitable partners. Choosy selfishness isn’t just for men anymore! Loyalty is a feudalist hang-up! The New Critics obsessed over a single line describing the husband’s outfit: “George wore his navy and mountain red Norwegian sweater, which Alice had given him on their first date, and which he had never liked.” It didn’t sound like much, they admitted, but it was the only time Freddy had chosen to give the husband’s point of view — shared his feelings. What did it mean? It had to mean something!

      Freddy found the whole “Lifetime Warranty” mania funny, because he’d intended the story to be just that: funny. “It’s too much,” he said, laughing. “I wrote it all in one night and I’ve never even read any Marx.” The enthusiasm for “Lifetime Warranty” took me aback as well. I didn’t say this to Freddy, but I didn’t think the story was all that refined. It was a good read for a train ride. A trifle.

      Richard Anders was naive — oddly so for an editor. He didn’t seem to realize that critical feeding frenzies often had little to do with the objective quality of the work in question. If a story could be used to promote a pet construct, nothing else mattered. Not its heft. Not its finesse. Nothing, including the author’s intentions. Langley had never read Marx. The Marxists did not care.

      I looked for remembrances of Langley’s later years, but his friends and professional acquaintances, the people who knew him best, knew him exclusively as a young man. There was only one entry concerning Langley’s life after publishing.

      Daniel Godolphin: I was living in Paris when Freddy was there, and we got along. We’d hang out at cafés and kid around. He listened to me complain about how much cheaper the city had been when Hemingway and those people were doing the expatriate thing. They could get by pretty nicely on the peanuts they got for their stories. On one occasion I worked up the guts to ask, “How much did you get for your stories?” I may have had a few too many drinks. He may have had a few too many drinks. He was annoyed. He wouldn’t say. I’m pretty sure, though, that he got more than peanuts. It’s weird he didn’t keep churning that stuff out. If I’d had a major-league New York publisher and a fawning audience, I would’ve milked that situation. But I never saw him so much as sit down at a typewriter. I don’t think he even brought one with him overseas.

      Once a cub reporter tracked Freddy down with a magazine profile in mind. The reporter needled him: “Are you working on anything? More short stories? A novel? A screenplay?” Freddy kept saying no, but the reporter didn’t take him at his word. He assumed he was hiding something, and he suggested that in his article. It was ridiculous. Freddy started getting letters from people back home saying, “When can we expect your great work?” It made him uncomfortable. He’d been inspired once, but he wasn’t inspired anymore.

       A Cliché

      Again I walked to Worcester Square. Again Helen greeted me shoeless at the front door. This time she’d expected me. Again she led me to the den, and again she left me there alone, this time while she finished cooking. I took in the room like a familiar place, or, more precisely, with the wonder one feels at finding a place familiar that so recently seemed alien. How quickly one goes from What’s all this? to Oh, this. Resting on the window ledge were unopened letters from multiple credit-card companies and a copy of Margaret Mitchell’s Gone with the Wind. Its pages were yellow and its dustcover worn. COPYRIGHT MCMXXXVI BY THE MACMILLAN COMPANY.

      Helen returned to find me reading the racist classic.

      “Um,” she said, infusing that one syllable with a heap of disapproval.

      “Sorry. This must be for work, a look-but-don’t-touch type of situation. Is it a first edition?”

      “No, no, dear. That’s not actually from 1936. It’s a facsimile. I’m pleased, though, that you fell for it.”

      “There’s a dark side of antiquarianism, I guess.”

      “Some clients don’t care about the real thing. All they want is an impressive-seeming library.”

      “And do those clients know they’re not buying the real thing?”

      “I wouldn’t dream of deceiving anyone.”

      Was she winking at me?

      “The trickery’s all on their end, not yours,” I said.

      “I disapprove. It’s just — I have bills to pay. And rent. When I see an opportunity, I take that opportunity.”

      That statement may well have been a red flag, but I had enough at stake to ignore it. In Langley I had discovered precisely what Professor Davidoff had commanded me to seek: A subject for an inspirational case study. He was prolific, then silent. Inspired, then — there was no antonym for inspired. Blocked. Dried up. De-inspired. For Langley’s process as a young man, I had Freddy Remembered. For the later years, I needed Helen. She was a primary source enfleshed. When I saw an opportunity, I took that opportunity.

      I followed Helen into the sitting room, which doubled as a dining room. We arranged ourselves on either side of a foldout table that was usually a resting place for papers but now held our meal: spaghetti with red sauce on mismatched plates.

      As if it mattered what she served. There were some authors — Mitchell among them — who could build a scene around food. They found significance in under-buttered rolls and improperly folded napkins; they found lyricism in crisp baguettes, soft white cheese, dry red wine, and the dry witticisms exchanged over that dry red wine. I guessed they were slow eaters — how else could they have observed so much? — whereas I consumed so quickly that I didn’t really notice anything except, in this particular case, that the cook had used too much salt and that my dining companion was a partisan of the spoon-support technique for pasta. When I was learning how to feed myself, no one had suggested that method and it still seemed exotic, more foreign than chopsticks.

      I so looked forward to eating; not just at Helen’s, in general. But eating itself was routinely disappointing because it never lasted long enough and the end was always in sight, always quantifiable: ten more bites, five more bites, two more bites, maybe three if I was careful. The period of satiation was painfully brief. Then began the countdown to the next feeding. Hours spent waiting for lunch, and then minutes to consume it. Hours spent waiting for dinner, and then a few more minutes to consume it.

      Cooking anything in the least bit complicated came to seem futile, as silly as and perhaps sillier than spending money — which everyone said was the same as time — on an outfit I would wear only once. The outfit, once worn, would find its way to a closet and later a trash heap. The meal, once eaten, would find its way to a toilet and later a sewer. For these reasons I subsisted mostly on Pop-Tarts.

      All that said, it was pleasant to have a hot meal for a change, and someone to talk to across the table, someone who listened patiently as I described, in greater detail than was strictly necessary, my usual dining habits, which I compared to my family’s more formal habits when I was young. Back home, we’d eaten well and we’d eaten carefully, with two or three forks and two or three knives and the water glass and the wineglass placed just so, the multiple courses brought out just when. I felt a little guilty, a little ashamed of my casual degeneracy, but Helen laughed away my concerns. She had a full laugh. A warm, soothing, affirming, seductive laugh, nothing like Evelyn’s high-pitched СКАЧАТЬ