Because They Wanted To

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Overview

A New York Times Notable Book

A man tells a story to a woman sitting beside him on a plane, little suspecting what it reveals about his capacity for cruelty and contempt. A callow runaway girl is stranded in a strange city with another woman’s fractiously needy children. An uncomprehending father helplessly lashes out at the daughter he both loves and resents. In these raw, startling, and incandescently lovely stories, the author of Veronica yields twelve indelible portraits of ...

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Because They Wanted To

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Overview

A New York Times Notable Book

A man tells a story to a woman sitting beside him on a plane, little suspecting what it reveals about his capacity for cruelty and contempt. A callow runaway girl is stranded in a strange city with another woman’s fractiously needy children. An uncomprehending father helplessly lashes out at the daughter he both loves and resents. In these raw, startling, and incandescently lovely stories, the author of Veronica yields twelve indelible portraits of people struggling with the disparity between what they want and what they know. Because They Wanted To is further evidence that Gaitskill is one of the fiercest, funniest, and most subversively compassionate writers at work today.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
In "The Dentist," a story about a magazine writer's sexual infatuation with her bland, middle-aged dentist, a billboard for Obsession perfume looms over the protagonist's neighborhood, projecting a "strange arrested sensuality of unsatisfied want." Like that billboard, the nine stories in Gaitskill's third book (after the novel, Two Girls, Fat and Thin) hold a mirror up to a 30-something zeitgeist of emotional dysfunction, chronicling people paralyzed by unappeasable desires and trapped by abusive families and relationships. The landscape is a familiar one-of support groups and public health clinics, funky neighborhoods in the Pacific Northwest and lower Manhattan inhabited by writers, musicians and sex workers. With her crisp prose and withering eye for detail, Gaitskill invests these scenes with psychological vividness and desolate poignancy. The title story is a portrait of a resilient 16-year-old who runs away from home in the wake of her parent's divorce and takes a job in Vancouver babysitting for a financially desperate mother of three. The disgruntled protagonist of the opening story, "Tiny, Smiling Daddy," disturbed that his estranged lesbian daughter has published a self-help essay about him in a national magazine, ponders the divide between parents and children. In the four-part final story, "The Wrong Thing," a 39-year-old poetry teacher tries to remain stoic in the face of a series of erotic but loveless flings. It's telling that Gaitskill's title is an unfinished sentence, for the theme that binds these stories together is an emotional modality shared by a cast of unhappy people, whose sordid fantasy lives and small gestures of compassion allow them to keep at bay the meaninglessness and despair of the everyday. (Jan.)
Library Journal
Many of the stories in Gaitskill's new collection conform to the same structure, shifting between present and memory, depicting the past catching up to her characters. In "The Girl on the Plane," a man meets a woman who resembles a college classmate, and their conversation elicits in his mind the sordid details of his role in a drunken gang-rape. In "Tiny, Smiling Daddy," a young woman writes about her father for Self. While driving to purchase the magazine, the father reflects on her childhood. "Orchid" details the reunion of two college roommates-Margot, a lesbian, and Patrick, a Lothario-and how smoldering memories can blaze when provoked. Gaitskill's characters thrive on the frontiers of sexual identity, where they search for love that can coexist with the traumatic histories that burden them, and the stories they inhabit reflect their complexity-opting for simple survival over reductive resolution. Often, for Gaitskill, the striking of a single sustained note of self-knowledge is enough to keep a chorus of insoluble problems at bay. Recommended.-Adam Mazmanian, "Library Journal"
Salon
Reminiscent of the ugly-beautiful denizens of a Calvin Klein ad, the happy-sad and aggressively passive roughnecks in Mary Gaitskill's second collection of short stories embody the trendier modalities of modern romance. These masochist girls and sadist boys inhabit an ambivalent time, with feelings that invariably embody their sarcastic opposites. Gaitskill's touchy flock roams the urban landscape like heat-seeking misfits. A magazine article, casual meeting with a former lover or visit to the dentist's office are enough to send them hurtling down Memory Lane's grim, gray passage.

Gaitskill has a thing about female sex workers; several of her female characters have done time either as strippers or hookers and wear their resumés defiantly. Casually bisexual, they get off on the cutting edge of sexual politics, often to the dismay of fathers and boyfriends. In Tiny, Smiling Daddy a father seethes over his lesbian daughter's outing of their emotional problems in the pages of Self magazine. Words sting and bruise in Because They Wanted To (as slack a title as you could ask for). But all this verbal assault and battery makes for a gloomy Starbucks afternoon.

A transgressive writer in realist clothing, Gaitskill specializes in charged emotional scenes delivered with affectless precision. Her stories drift with a vague forward momentum, occasionally circling in upon themselves to exhale a memory. Since Gaitskill focuses on her characters' emotional and sexual lives, they come off as skeletal, attenuated and one-dimensional. They seek something they wouldn't recognize if it slapped them on the ass. "I told her I was sick of categories like butch bottom and femme top or vice versa," says 39-year-old Susan in The Wrong Thing, the last and longest of these nine unsentimental journeys. "I said I was looking for something more genuine, although I didn't know yet what it was. She said she thought she probably was too." Ah, commitment.

Gaitskill's universe is not a laugh riot. It's a stark place reduced to sociosexual signifiers such as the occasional nipple ring or awkwardly wielded rubber cock. It's all au courant, and more than a little sad. "It was fun to say that I liked something refined and cruel," says Susan in The Wrong Thing "but under the fun was an impatient yank of boredom and under that was indignation and pain." Love hurts indeed. -- Richard Gehr

Kirkus Reviews
Gaitskill's second collection is a return to the themes of her first, Bad Behavior (1988): Bad girls misbehave and end up as profiles in sexual pathology. For all their naughty sex talk, there's very little pleasure—Gaitskill's women are too brittle and nervous, forever exhausted by their unusual tastes, to take much relish in life.

The familial origins of her troubled women are well illustrated in "Tiny, Smiling Daddy," a portrait of a father disturbed by the course of his daughter's life, from sweet, beautiful girl to snarling teen and then to grown-up lesbian rehashing their relationship in a national magazine. A male perspective in two stories is equally grim: The twentysomething fellow who returns to Iowa to visit his injured mother uses the occasion to manipulate his girlfriend back in San Francisco; more troubling is the drunken confession by a middle-aged businessman on an airplane to his shocked female seatmate—as a teenager he participated in a gang rape. Quite a few pieces concern women in their late 30s, often bisexual, who seem incapable of maintaining relationships. The writer in "The Dentist" becomes obsessed with seducing her dumpy dentist, a man made uncomfortable by her sexual innuendos. In "The Wrong Thing," the narrator is, at first, dismayed by a younger man reluctant to have sex with her and retreats into an affair with a woman who likes only S&M role- playing. "The Blanket" explores a similar notion: An older woman energizes her younger lover by exploring their fantasies. The finest piece is "Orchid," the discussions of two college housemates who hook up years later in Seattle and seem to prove that those in the so-called helping professions—she's a social worker, he's a psychopharmacologist—are usually in need of much help themselves.

Gaitskill continues to explore the margins of human sexuality in stories distinguished by their strange terrain rather than by their exceptional skill.

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Product Details

  • ISBN-13: 9780684841441
  • Publisher: Simon & Schuster
  • Publication date: 2/28/1998
  • Edition number: 1
  • Pages: 256
  • Sales rank: 521,363
  • Product dimensions: 5.25 (w) x 8.00 (h) x 0.80 (d)

Meet the Author

Mary Gaitskill
Mary Gaitskill
From short stories like the S&M-tinged "Secretary" (the inspiration for the indie film of the same name) to her 2005 National Book Award-nominated novel, Veronica, Mary Gaitskill's words are often etched on a dark canvas -- but still manage to illuminate. "Gaitskill is an unforgiving writer, harsh, caustic and raw," reads the National Book Award judges' citation. "All that masks the enormous accomplishment of her work, the ability to use the dark to cast light."

Biography

Mary Gaitskill is the author of Veronica, nomiated for a 2005 National Book award in the Fiction category. She is also the author of Because They Wanted To, which was nominated for the PEN/Faulkner Award in 1998. Her stories and essays have appeared in The New Yorker, Harper's Magazine, Esquire, The Best American Short Stories (1993), and The O. Henry Prize Stories (1998). Her story "Secretary" was the basis for the film of the same name. The recipient of a Guggenheim Fellowship, she teaches creative writing at Syracuse University. She lives in New York.

Author biography courtesy of Random House, Inc.

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    1. Hometown:
      New York, New York
    1. Date of Birth:
      November 11, 1954
    2. Place of Birth:
      Lexington, Kentucky
    1. Education:
      B.A., University of Michigan, 1980

Table of Contents

Tiny, Smiling Daddy 11
Because They Wanted To 25
Orchid 59
The Blanket 89
Comfort 103
The Girl on the Plane 121
The Dentist 137
Kiss and Tell 171
Turgor 191
Respect 203
Processing 209
Stuff 227
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First Chapter

CHAPTER ONE

Tiny Smiling Daddy

He lay in his reclining chair, barely awake enough to feel the dream moving just under his thoughts. It felt like one of those pure, beautiful dreams in which he was young again, and filled with the realization that the friends who had died, or gone away, or decided that they didn't like him anymore, had really been there all along, loving him. A piece of the dream flickered, and he made out the lips and cheekbones of a tender woman, smiling as she leaned toward him. The phone rang, and the sound rippled through his pliant wakefulness, into the pending dream. But his wife had turned the answering machine up too loud again, and it attacked him with a garbled, furred roar that turned into the voice of his friend Norm.

Resentful at being waked and grateful that for once somebody had called him, he got up to answer. He picked up the phone, and the answering machine screeched at him through the receiver. He cursed as he fooled with it, hating his stiff fingers. Irritably, he exchanged greetings with his friend, and then Norm, his voice oddly weighted, said, "I saw the issue of Self with Kitty in it."

He waited for an explanation. None came, so he said, "What? Issue of Self? What's Self?"

"Good grief, Stew, I thought for sure you'd of seen it. Now I feel funny."

The dream pulsed forward and receded again. "Funny about what?"

"My daughter's got a subscription to this magazine, Self. And they printed an article that Kitty wrote about fathers and daughters talking to each other, and she, well, she wrote about you. Laurel showed it to me."

"My God."

"It's ridiculous that I'm the one to tell you. I just thought--"

"It was bad?"

"No, she didn't say anything bad. I just didn't understand the whole idea of it. And I wondered what you thought."

He got off the phone and walked back into the living room, now fully awake. His daughter, Kitty, was living in South Carolina, working in a used-record store and making animal statuettes, which she sold on commission. She had never written anything that he knew of, yet she'd apparently published an article in a national magazine about him. He lifted his arms and put them on the windowsill; the air from the open window cooled his underarms. Outside, the Starlings' tiny dog marched officiously up and down the pavement, looking for someone to bark at. Maybe she had written an article about how wonderful he was, and she was too shy to show him right away. This was doubtful. Kitty was quiet, but she wasn't shy. She was untactful and she could be aggressive. Uncertainty only made her doubly aggressive.

He turned the edge of one nostril over with his thumb and nervously stroked his nose hairs with one finger. He knew it was a nasty habit, but it soothed him. When Kitty was a little girl he would do it to make her laugh. "Well," he'd say, "do you think it's time we played with the hairs in our nose?" And she would giggle, holding her hands against her face, eyes sparkling over her knuckles.

Then she was fourteen, and as scornful and rejecting as any girl he had ever thrown a spitball at when he was that age. They didn't get along so well anymore. Once, they were sitting in the rec room watching TV, he on the couch, she on the footstool. There was a Charlie Chan movie on, but he was mostly watching her back and her long, thick brown hair, which she had just washed and was brushing. She dropped her head forward from the neck to let the hair fall between her spread legs and began slowly stroking it with a pink nylon brush.

"Say, don't you think it's time we played with the hairs in our nose?"

No reaction from bent back and hair.

"Who wants to play with the hairs in their nose?"

Nothing.

"Hairs in the nose, hairs in the nose," he sang.

She bolted violently up from the stool. "You are so gross you disgust me!" She stormed from the room, shoulders in a tailored jacket of indignation.

Sometimes he said it just to see her exasperation, to feel the adorable, futile outrage of her violated girl delicacy.

He wished that his wife would come home with the car, so that he could drive to the store and buy a copy of Self: His car was being repaired, and he could not walk to the little cluster of stores and parking lots that constituted "town" in this heat. It would take a good twenty minutes, and he would be completely worn out when he got there. He would find the magazine and stand there in the drugstore and read it, and if it was something bad, he might not have the strength to walk back.

He went into the kitchen, opened a beer, and brought it into the living room. His wife had been gone for over an hour, and God knew how much longer she would be. She could spend literally all day driving around the county, doing nothing but buying a jar of honey or a bag of apples. Of course, he could call Kitty, but he'd probably just get her answering machine, and besides, he didn't want to talk to her before he understood the situation. He felt helplessness move through his body the way a swimmer feels a large sea creature pass beneath him. How could she have done this to him? She knew how he dreaded exposure of any kind, she knew the way he guarded himself against strangers, the way he carefully drew all the curtains when twilight approached so that no one could see them walking through the house. She knew how ashamed he had been when, at sixteen, she announced that she was lesbian.

The Starling dog was now across the street, yapping at the heels of a bow-legged old lady in a blue dress who was trying to walk down the sidewalk. "Dammit," he said. He left the window and got the afternoon opera station on the radio. They were in the final act of La Boheme.

He did not remember precisely when it had happened, but Kitty, his beautiful, happy little girl, turned into a glum, weird teenager that other kids picked on. She got skinny and ugly. Her blue eyes, which had been so sensitive and bright, turned filmy, as if the real Kitty had retreated so far from the surface that her eyes existed to shield rather than reflect her. It was as if she deliberately held her beauty away from them, only showing glimpses of it during unavoidable lapses, like the time she sat before the TV, daydreaming and lazily brushing her hair. At moments like this, her dormant charm broke his heart. It also annoyed him. What did she have to retreat from? They had both loved her. When she was little and she couldn't sleep at night, Marsha would sit with her in bed for hours. She praised her stories and her drawings as if she were a genius. When Kitty was seven, she and her mother had special times, during which they went off together and talked about whatever Kitty wanted to talk about.

He tried to compare the sullen, morbid Kitty of sixteen with the slender, self-possessed twenty-eight-year-old lesbian who wrote articles for Self. He pictured himself in court, waving a copy of Self before a shocked jury. The case would be taken up by the press. He saw the headlines: Dad Sues Mag--Dyke Daughter Reveals... meals what? What had Kitty found to say about him that was of interest to the entire country, that she didn't want him to know about?

Anger overrode his helplessness. Kitty could be vicious. He hadn't seen her vicious site in years, but he knew it was there. He remembered the time he'd stood behind the half-open front door when fifteen-year-old Kitty sat hunched on the front steps with one of her few friends, a homely blonde who wore white lipstick and a white jacket jacket. He had come to the door to view the weather and say something to the girls, but they were muttering so intently that curiosity got the better of him, and he hung back a moment to listen. `Well, at least your mom's smart," said Kitty. "My mom's not only a bitch, she's stupid."

This after the lullabies and special times! It wasn't just an isolated incident, either; every time he'd come home from work, his wife had something bad to say about Kitty. She hadn't set the table until she had been asked four times. She'd gone to Lois's house instead of coming straight home like she'd been told to do. She'd worn a dress to school that was short enough to show the tops of her panty hose.

By the time Kitty came to dinner, looking as if she'd been doing slave labor all day, he would be mad at her. He couldn't help it. Here was his wife doing her damnedest to raise a family and cook dinner, and here was this-awful kid looking ugly, acting mean, and not setting the table. It seemed unreasonable that she should turn out so badly after taking up so much of their time. Her afflicted expression made him angry too. What had anybody ever done to her?

He sat forward and gently gnawed the insides of his mouth as he listened to the dying girl in La Boheme. He saw his wife's car pull into the driveway. He walked to the back door, almost wringing his hands, and waited for her to come through the door. When she did, he snatched the grocery bag from her arms and said, "Give me the keys." She stood openmouthed in the stairwell, looking at him with idiotic consternation. "Give me the keys!"

"What is it, Stew? What's happened?"

"I'll tell you when I get back."

He got in the car and became part of it, this panting mobile case propelling him through the incredibly complex and fast-moving world of other people, their houses, their children, their dogs, their lives. He wasn't usually so aware of this unpleasant sense of disconnection between him and everyone else, but he had the feeling that it had been there all along, underneath what he thought about most of the time. It was ironic that it should rear up so visibly at a time when there was in fact a mundane yet invasive and horribly real connection between him and everyone else in Wayne County: the hundreds of copies of Self magazine sitting in countless drugstores, bookstores, groceries, and libraries. It was as if there were a tentacle plugged into the side of the car, linking him with the random humans who picked up the magazine, possibly his very neighbors. He stopped at a crowded intersection, feeling like an ant in an enemy swarm.

Kitty had projected herself out of the house and into this swarm very early, ostensibly because life with him and Marsha had been so awful. Well, it had been awful, but because of Kitty, not them. As if it weren't enough to be sullen and dull, she turned into a lesbian. Kids followed her down the street, jeering at her. Somebody dropped her books in a toilet. She got into a fistfight. Their neighbors gave them looks. This reaction seemed only to steel Kitty's grip on her new identity; it made her romanticize herself, like the kid she was. She wrote poems about heroic women warriors, she brought home strange books and magazines, which, among other things, seemed to glorify prostitutes. Marsha looked for them and threw them away. Kitty screamed at her, the tendons leaping out on her slender neck. He punched Kitty and knocked her down. Marsha tried to stop him, and he yelled at her. Kitty jumped up and leapt between them, as if to defend her mother. He grabbed her and shook her, but he could not shake the conviction off her face.

Most of the time, though, they continued as always, eating dinner together, watching TV, making jokes. That was the worst thing; he would look at Kitty and see his daughter, now familiar in her withdrawn sullenness, and feel comfort and affection. Then he would remember that she was a lesbian, and a morass of complication and wrongness would come down between them, making it impossible for him to see her. Then she would just be Kitty again. He hated it.

She ran away at sixteen, and the police found her in the apartment of an eighteen-year-old bodybuilder named Dolores, who had a naked woman tattooed on her sinister bicep. Marsha made them put her in a mental hospital so psychiatrists could observe her, but he hated the psychiatrists--mean, supercilious sons of bitches who delighted in the trick question--so he took her out. She finished school, and they told her if she wanted to leave it was all right with them. She didn't waste any time getting out of the house.

She moved into an apartment near Detroit with a girl named George and took a job at a home for retarded kids. She would appear for visits with a huge bag of laundry every few weeks. She was thin and neurotically muscular, her body having the look of a fighting dog on a leash. She cut her hair like a boy's and wore black sunglasses, black leather half-gloves, and leather belts. The only remnant of her beauty was her erect, martial carriage and her efficient movements; she walked through a room like the commander of a guerrilla force. She would sit at the dining room table with Marsha, drinking tea and having a laconic verbal conversation, her body speaking its precise martial language while the washing machine droned from the utility room, and he wandered in and out, trying to make sense of what she said. Sometimes she would stay into the evening, to eat dinner and watch All in the Family. Then Marsha would send her home with a jar of homemade tapioca pudding or a bag of apples and oranges.

One day, instead of a visit they got a letter postmarked San Francisco. She had left George, she said. She listed strange details about her current environment and was vague about how she was supporting herself. He had nightmares about Kitty, with her brave, proudly muscular little body, lost among big fleshy women who danced naked in go-go bars and took drugs with needles, terrible women whom his confused, romantic daughter invested with oppressed heroism and intensely female glamour. He got up at night and stumbled into the bathroom for stomach medicine, the familiar darkness of the house heavy with menacing images that pressed about him, images he saw reflected in his own expression when he turned on the bathroom light over the mirror.

Then one year she came home for Christmas. She came into the house with her luggage and a shopping bag of gifts for them, and he saw that she was beautiful again. It was a beauty that both offended and titillated his senses. Her short, spiky hair was streaked with purple, her dainty mouth was lipsticked, her nose and ears were pierced with amethyst and dangling silver. Her face had opened in thousands of petals. Her eyes shone with quick perception as she put down her bag, and he knew that she had seen him see her beauty. She moved toward him with fluid hips; she embraced him for the first time in years. He felt her live, lithe body against his, and his heart pulsed a message of blood and love. "Merry Christmas, Daddy," she said.

Her voice was husky and coarse; it reeked of knowledge and confidence. Her T-shirt said "Chicks With Balls." She was twenty-two years old.

She stayed for a week, discharging her strange jangling beauty into the house and changing the molecules of its air. She talked about the girls she shared an apartment with, her job at a coffee shop, how Californians were different from Michiganders. She talked about her friends: Lorraine, who was so pretty men fell off their bicycles as they twisted their bodies for a better look at her; Judy, a martial arts expert; and Meredith, who was raising a child with her husband, Angela. She talked of poetry readings, ceramics classes, workshops on piercing.

He realized, as he watched her, that she was now doing things that were as bad as or worse than the things that had made him angry at her five years before, yet they didn't quarrel. It seemed that a large white space existed between him and her, and that it was impossible to enter this space or to argue across it. Besides, she might never come back if he yelled at her.

Instead, he watched her, puzzling at the metamorphosis she had undergone. First she had been a beautiful, happy child turned homely, snotty, miserable adolescent. From there she had become a martinet girl with the eyes of a stifled pervert. Now she was a vibrant imp, living, it seemed, in a world constructed of topsy-turvy junk pasted with rhinestones. Where had these three different people come from? Not even Marsha, who had spent so much time with her as a child, could trace the genesis of the new Kitty from the old one. Sometimes he bitterly reflected that he and Marsha weren't even real parents anymore but bereft old people rattling around in a house, connected not to a real child who was going to college, or who at least had some kind of understandable life, but to a changeling who was the product of only their most obscure quirks, a being who came from recesses that neither of them suspected they'd had.

There were only a few cars in the parking lot. He wheeled through it with pointless deliberation before parking near the drugstore. He spent irritating seconds searching for Self, until he realized that its airbrushed cover girl was grinning right at him. He stormed the table of contents, then headed for the back of the magazine. "Speak Easy" was written sideways across the top of the page in round turquoise letters. At the bottom was his daughter's name in a little box. "Kitty Thorne is a ceramic artist living in South Carolina." His hands were trembling.

It was hard for him to rationally ingest the beginning paragraphs, which seemed, incredibly, to be about a phone conversation they'd had some time ago about the emptiness and selfishness of people who have sex but don't get married and have children. A few phrases stood out clearly: "... my father may love me but he doesn't love the way I live." "... even more complicated because I'm gay." "... because it still hurts me."

For reasons he didn't understand, he felt a nervous smile tremble under his skin. He suppressed it.

"This hurt has its roots deep in our relationship, starting, I think, when I was a teenager."

He was horribly aware of being in public, so he paid for the thing and took it out to the car. He drove slowly to another spot in the lot, as far away from the drugstore as possible, picked up the magazine, and began again. She described the "terrible difficulties" between him and her. She recounted, briefly and with hieroglyphic politeness, the fighting, the running away, the return, the tacit reconciliation.

"There is an emotional distance that we have both accepted and chosen to work around, hoping the occasional contact--love, anger, something--will get through."

He put the magazine down and looked out the window. It was near dusk; most of the stores in the little mall were closed. There were only two other cars in the parking lot, and a big, slow, frowning woman with two grocery bags was getting ready to drive one away. He was parked before a weedy piece of land at the edge of the lot. In it were rough, picky weeds spread out like big green tarantulas, young yellow dandelions, frail old dandelions, and bunches of tough blue chickweed. Even in his distress he vaguely appreciated the beauty of the blue weeds against the cool white-and-gray sky. For a moment the sound of insects comforted him. Images of Kitty passed through his memory with terrible speed: her nine-year-old forehead bent over her dish of ice cream, her tiny nightgowned form ran up the stairs, her ringed hand brushed her face, the keys on her belt jiggled as she walked her slow blue-jeaned walk away from the house. Gone, all gone.

The article went on to describe how Kitty hung up the phone feeling frustrated and then listed all the things she could've said to him to let him know how hurt she was, paving the way for "real communication"; it was all in ghastly talk-show language. He was unable to put these words together with the Kitty he had last seen lounging around the house. She was twenty-eight now, and she no longer dyed her hair or wore jewels in her nose. Her demeanor was serious, bookish, almost old-maidish. Once, he'd overheard her saying to Marsha, "So then this Italian girl gives me the once-over and says to Joanne, `You `ang around with too many Wasp.' And I said, `I'm not a Wasp, I'm white trash.'"

"Speak for yourself," he'd said.

"If the worst occurred and my father was unable to respond to me in kind, I skill would have done a good thing. I would have acknowledged my own needs and created the possibility to connect with what therapists call `the good parent' in myself."

Well, if that was the kind of thing she was going to say to him, he was relieved she hadn't said it. But if she hadn't said it to him, why was she saying it to the rest of the country?

He turned on the radio. It sang: "Try to remember, and if you remember, then follow, follow." He turned it off. The interrupted dream echoed faintly. He closed his eyes. When he was nine or ten, an uncle of his had told him, "Everybody makes his own world. You see what you want to see and hear what you want to hear. You can do it right now. If you blink ten times and then close your eyes real tight, you can see anything you want to see in front of you." He'd tried it, rather halfheartedly, and hadn't seen anything but the vague suggestion of a yellowish-white ball moving creepily through the dark. At the time, he'd thought it was perhaps because he hadn't tried hard enough.

He had told Kitty to do the same thing, or something like it, when she was eight or nine. They were sitting on the back porch in striped lawn chairs, holding hands and watching the fireflies turn on and off.

She closed her eyes for a long time. Then very seriously, she said, "I see big balls of color, like shaggy flowers. They're pink and red and turquoise. I see an island with palm trees and pink rocks. There's dolphins and mermaids swimming in the water around it." He'd been almost awed by her belief in this impossible vision. Then he was sad, because she would never see what she wanted to see. Then he thought she was sort of stupid, even for a kid.

His memory flashed back to his boyhood. He was walking down the middle of the street at dusk, sweating lightly after a basketball game. There were crickets and the muted barks of dogs and the low, affirming mumble of people on their front porches. Securely held by the warm night and its sounds, he felt an exquisite blend of happiness and sorrow that life could contain this perfect moment, and a sadness that he would soon arrive home, walk into bright light, and be on his way into the next day, with its loud noise and alarming possibility. He resolved to hold this evening walk in his mind forever, to imprint in a permanent place all the sensations that occurred to him as he walked by the Oatlanders' house, so that he could always take them out and look at them. He dimly recalled feeling that if he could successfully do that, he could stop time and hold it.

He knew he had to go home soon. He didn't want to talk about the article with Marsha, but the idea of sitting in the house with her and not talking about it was hard to bear. He imagined the conversation grinding into being, a future conversation with Kitty gestating within it. The conversation was a vast, complex machine like those that occasionally appeared in his dreams; if he could only pull the switch, everything would be all right, but he felt too stupefied by the weight and complexity of the thing to do so. Besides, in this case, everything might not be all right. He put the magazine under his seat and started the car.

Marsha was in her armchair, reading. She looked up, and the expression on her face seemed like the result of internal conflict as complicated and strong as his own, but cross-pulled in different directions, uncomprehending of him and what he knew. In his mind, he withdrew from her so quickly that for a moment the familiar room was fraught with the inexplicable horror of a banal nightmare. Then the ordinariness of the scene threw the extraordinary event of the day into relief, and he felt so angry and bewildered he could've howled.

"Everything all right, Stew?" asked Marsha.

"No, nothing is all right. I'm a tired old man in a shitty world I don't want to be in. I go out there, it's like walking on knives. Everything is an attack--the ugliness, the cheapness, the rudeness, everything." He sensed her withdrawing from him into her own world of disgruntlement, her lips drawn together in that look of exasperated perseverance she'd gotten from her mother. Like Kitty, like everyone else, she was leaving him. "I don't have a real daughter, and I don't have a real wife who's here with me, because she's too busy running around on some--"

"We've been through this before. We agreed I could--"

"That was different! That was when we had two cars!" His voice tore through his throat in a jagged whiplash and came out a cracked half scream. "I don't have a car, remember? That means I'm stranded, all alone for hours, and Norm Pisarro can call me up and casually tell me that my lesbian daughter has just betrayed me in a national magazine and what do I think about that?" He wanted to punch the wall until his hand was bloody. He wanted Kitty to see the blood. Marsha's expression broke into soft, openmouthed consternation. The helplessness of it made his anger seem huge and terrible, then impotent and helpless itself. He sat down on the couch and, instead of anger, felt pain.

"What did Kitty do? What happened? What does Norm have--"

"She wrote an article in Self magazine about being a lesbian and her problems and something to do with me. I don't know; I could barely read the crap."

Marsha looked down at her nails.

He looked at her and saw the aged beauty of her ivory skin, sagging under the weight of her years and her cockeyed bifocals, the emotional receptivity of her face, the dark down on her upper lip, the childish pearl buttons of her sweater, only the top button done.

"I'm surprised at Norm, that he would call you like that."

"Oh, who the hell knows what he thought." His heart was soothed and slowed by her words, even if they didn't address its real unhappiness.

"Here," she said. "Let me rub your shoulders."

He allowed her to approach him, and they sat sideways on the couch, his weight balanced on the edge by his awkwardly planted leg, she sitting primly on one hip with her legs tightly crossed. The discomfort of the position negated the practical value of the massage, but he welcomed her touch. Marsha had strong, intelligent hands that spoke to his muscles of deep safety and love and the delight of physical life. In her effort, she leaned close, and her sweatered breast touched him, releasing his tension almost against his will. Through half-closed eyes he observed her sneakers on the floor--he could not quite get over this phenomenon of adult women wearing what had been boys' shoes--in the dim light, one toe atop the other as though cuddling, their laces in pretty disorganization.

Poor Kitty. It hadn't really been so bad that she hadn't set the table on time. He couldn't remember why he and Marsha had been so angry over the table. Unless it was Kitty's coldness, her always turning away, her sarcastic voice. But she was a teenager, and that's what teenagers did. Well, it was too bad, but it couldn't be helped now.

He thought of his father. That was too bad too, and nobody was writing articles about that. There had been a distance between them, so great and so absolute that the word "distance" seemed inadequate to describe it. But that was probably because he had known his father only when he was a very young child; if his father had lived longer, perhaps they would've become closer. He could recall his father's face clearly only at the breakfast table, where it appeared silent and still except for lip and jaw motions, comforting in its constancy. His father ate his oatmeal with one hand working the spoon, one elbow on the table, eyes down, sometimes his other hand holding a cold rag to his head, which always hurt with what seemed to be a noble pain, willingly taken on with his dudes as a husband and father. He had loved to stare at the big face with its deep lines and long earlobes, its thin lips and loose, loopily chewing jaws. Its almost godlike stillness and expressionlessness filled him with admiration and reassurance, until one day his father slowly looked up from his cereal, met his eyes, and said, "Stop staring at me, you little shit."

In the other memories, his father was a large, heavy body with a vague oblong face. He saw him sleeping in the armchair in the living room, his large, hairy-knuckled hands grazing the floor. He saw him walking up the front walk with the quick, clipped steps that he always used coming home from work, the straight-backed choppy gait that gave the big body an awesome mechanicalness. His shirt was wet under the arms, his head was down, the eyes were abstracted but alert, as though keeping careful watch on the outside world in case something nasty came at him while he attended to the more important business inside.

"The good parent in yourself."

What did the well-meaning idiots who thought of these phrases mean by them? When a father dies, he is gone; there is no tiny, smiling daddy who appears, waving happily, in a secret pocket in your chest. Some kinds of loss are absolute. And no amount of self-realization or self-expression will change that.

As if she had heard him, Marsha urgently pressed her weight into her hands and applied all her strength to relaxing his muscles. Her sweat and scented deodorant filtered through her sweater, which added its muted wooliness to her smell. "All righty!" She rubbed his shoulders and briskly patted him. He reached back and touched her hand in thanks.

Across from where they sat had once been a red chair, and in it had once sat Kitty, looking away from him, her fist hiding her face.

"You're a lesbian? Fine," he said. "You mean nothing to me. You walk out that door, it doesn't matter. And if you come back in, I'm going to spit in your face. I don't care if I'm on my deathbed, I'll still have the energy to spit in your face."

She did not move when he said that. Tears ran over her fist and down her arm, but she didn't look at him.

Marsha's hands lingered on him for a moment. Then she moved and sat away from him on the couch.

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