The Post-Birthday World. Lionel Shriver

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      In the days she’d been capable of focusing on more than her own misery, Irina had registered what the dramas and thrillers of the sort that Lawrence fed their voracious VCR were abundantly about. In the main, films place protagonists in a moral quandary, or test their mettle with trials by fire. Yet few members of the audience ever confront the cinematic dilemma in real life. Most people don’t have to figure out how to blow the whistle on government conspiracies without getting themselves killed. Most people aren’t pledged to take an assassin’s bullet to protect the president. World War II is over, and the standard Western mother is not likely to have to choose between the lives of her two children in a concentration camp.

      By contrast, there is one province in which, sooner or later, virtually everyone gets dealt a leading role—hero, heroine, or villain. Performance in this arena is as fierce a test of character as being tempted to sell nuclear secrets to Beijing. Unlike the slight implications of quotidian dilemmas that confront the average citizen in other areas of life—whether to report cash income on your taxes—the stakes in this realm could not be higher. For chances are that at some point along the line you will hold in your hands another person’s heart. There is no greater responsibility on the planet. However you contend with this fragile organ, which pounds or seizes in accordance with your caprice, will take your full measure.

      Irina had liked to think of herself as a decent person. Yet in this most telling of spheres her behaviour had grown disreputable overnight. While she might have preferred to regard her two-timing as “out of character,” it is never persuasive to argue that you are not the kind of person who does what you are actually doing. Ipso facto, her furtive afternoons with Ramsey Acton were necessarily in character. For that matter, barring the onset of brain-wasting diseases like variant Creutzfeldt-Jakob, there may be no such thing as behaving “out of character.” Should what you get up to fail to comport with who you think you are, something is surely inaccurate (and likely optimistic) about who you think you are. Since Irina had not consumed enough British beef to blame vCJD, she was not therefore “a decent person,” but a duplicitous, traitorous tramp whose attachments were shallow, whose word, implicit or otherwise, meant nothing, and who was hell-bent on defiling the finest elements both of her life and in herself.

      Yet every time her eyes found Ramsey’s face—which had a delightful way of changing ages depending on the light; since over the course of five minutes it could flicker from adolescent devil-may-care to middle-aged gravity, then on to the fatalistic resignation of an old-timer, she often felt in the presence, cradle-to-grave, of a whole man—she felt good, and not the indulgent, petty feeling-good of eating chocolate. When he touched her—and he needn’t cup her bare breasts or sidle fingers up under her skirt; holding her hand would do it, or resting his forehead on her temple—she experienced the sense of revelation that physicists must enjoy, when they believe they’ve finally put together that elusive theory of everything, located the one prion or quark that binds all matter. In the moment, it was impossible to conceive of this feeling as wicked. In Ramsey’s arms, her attraction to this remarkable snooker player (of all things) not only seemed “good,” made her “feel good,” but seemed an attraction to The Good—to an absolute that made all life worth living, rejection of which would be both morally reprehensible and inhuman. Only back in the Borough flat, and confronted with a man who had bestowed on her nothing but generosity and did not deserve to be repaid for his devotion with coldness and perfidy, did Irina feel unclean.