John Barth - Letters

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A landmark of postmodern American fiction, Letters is (as the subtitle genially informs us) "an old time epistolary novel by seven fictitious drolls & dreamers each of which imagines himself factual." Seven characters (including the Author himself) exchange a novel's worth of letters during a 7-month period in 1969, a time of revolution that recalls the U.S.'s first revolution in the 18th century — the heyday of the epistolary novel. Recapitulating American history as well as the plots of his first six novels, Barth's seventh novel is a witty and profound exploration of the nature of revolution and renewal, rebellion and reenactment, at both the private and public levels. It is also an ingenious meditation on the genre of the novel itself, recycling an older form to explore new directions, new possibilities for the novel.

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Jee-bloody-farking- sus!

Alors: if I am truly turpitudinous, and not hallucinating my tender connexion with Doctor Mensch, then I am now altogether reliant upon that spectacularly unreliable fellow. My “hope” this time last week was that Marshyhope’s commencement might remind him fondly of ours. Ha! Now my only hope is that I’m pregnant, and that conceiving a bastard by that bastard will restore him to me and to his senses. Some hope, whilst he climbs all over Bea Golden (but not yet into her knickers, not yet, not yet) as the Baratarians reenact on Bloodsworth Island Admiral Cockburn’s Rape of Hampton, Virginia, in 1813!

Total, total disgrace, such as my namesake never knew. This dispossessed augur can scratch her poor encausticked penis across these miserable beech leaves no further. Where is the peace Mann promised his ruined

G?

O: Lady Amherst to the Author.The Fourth Stage concludes; the Fifth begins. Magda’s confession. The Gadfly fiasco reenacted: an Unfilmable Sequence.

24 L Street

Dorset Heights, Maryland 21612

5 July ’69

J.,

Oh, yes: still here. And still scratching.

You recall last Saturday’s last hope? No sooner hoped than hopeless. True, when the Mother of Alphabets rose full on the Sunday (the “Hot Moon,” and it has indeed been sweltering hereabouts), I failed to flow with my recent celestial regularity, and for some moments dared imagine — But it was a cruel false hope: next day, her name day, the last of the sorry month, I began, if not to flow, at least erratically to leak, and have dripped and dribbled this week through in pre-Ambrosian style.

As befits what looks to be the commencement of my post -Ambrosian life. Having been the efficient cause of my dismissal from Academe, the man has, as of Monday last, dismissed me, and as of yesterday abandoned me. Whilst I write this in air-conditioned solitude at 24 L, he is alone at “Barataria” with his new mistress, Jeannine Patterson Mack Singer Bernstein Golden, of whom he made triumphant conquest last night by the rockets’ red glare.

Do I seem calm? I am, rather: that bitter hopeless peace old Thomas promised. Everyone is being frightfully understanding: good Magda Giulianova Mensch, of whom more to come; Todd Andrews; Jane Mack; even Drew Mack, who regrets by telephone that his disruption of the MSU commencement cost me my job (an example of bourgeois capitalist academic capriciousness, says Drew). My old friend “Juliette Récamier” has written sympathetically from her current post at Nanterre (don’t ask me how she heard so fast), where “for such an outrage [as my cashiering] we would burn down the university.” Oh, yes, and “Monsieur Casteene” also deplores (from Castines Hundred) John Schott’s move, of which he disclaims foreknowledge; nor had he imagined, when as A. B. Cook he accepted Schott’s invitation to visit Marshyhope for the fall semester (a detail he neglected to mention in our Remarkable Conversation) that he would be replacing me. He’d hoped, as my temporary colleague, to change my mind yet about publishing his ancestor’s letters: a service to himself, to historiography, and to the 2nd Revolution which he now prayed my altered circumstances might reincline me to, but which he would not solicit from me against my wishes. He is making “other arrangements” for their publication. If things should go ill between me and my current friend, God forbid, and I needed a change of scene, I was of course welcome at any time, and for any time, to Castines Hundred.

I thanked him politely for the invitation, but told him that things between my current friend and me were just dandy.

I have not mentioned that, even as he left me for Bea Golden (more precisely, upon Monday’s evidence that his low-motile swimmers had failed again with me, but before his Independence Day triumph over Reg Prinz), Ambrose informed me that our affair is not ended; only its 4th Stage, corresponding — somehow — to his failed marriage. As I was not pregnant, the 5th Stage would now commence — it was how he felt —and he hoped it would be of short duration, for he could not imagine my enjoying it any more than #4. I was a fool, he added (not for the first time since Commencement Day), to have persisted in this one-way correspondence with you, and especially to have made a carbon of such compromising stuff: but in my circumstances it was an understandable and forgivable folly. He was very sorry that it and he had cost me my job; contemptuous as he was of John Schott’s vulgar ambitions and pretentions, he was not finally so of mass public colleges like Marshyhope, as long as one did not mistake their activity for first-class education. He knew I’d done excellent things for the few really able students who had come my way, and at least no harm to the commonalty. Even he is sympathetic!

He could scarcely say what had possessed him at the exercises: he’d had an equivocal hint from Prinz, who had it from Drew Mack, that the radicals might be Up To Something after all; we both had heard from Bea with some amusement that Merope Bernstein had mobilised herself and disappeared in a hurry from the Farm when her ex-stepmother, after a sympathetic reunion, had cautioned her that Jerome Bray might well materialise in Fort Erie. But there wasn’t “really” any prearrangement: it had merely occurred to Ambrose that some sort of neo-Dadaist, bourgeois-baiting stunt would suit the movie, and he was distraught about his mother’s dying, and for that matter he was professionally preoccupied with the roots of writing, its mythical connexions with Thoth and Hermes, ibis and crane, moon and phallus and lyre strings… He too had been disrupted!

Oh, yes, and by the way: he still loved me, he declared; still hoped to impregnate and to marry me. To that end we ought still to Have Sex from time to time, once my bleeding stopped, what? Not to worry about the rent and the groceries; we’d manage. But I might be seeing a bit less of him in the days ahead, when he suspected that Andrea’s condition, his authorial concerns, and his activities in Prinz’s film might all approach critical levels.

Have I mentioned that, unaccountably, I Still Love Him too? Elsewise I’d clear straight out of this incubator of mildew and mosquitoes and get me to the clear cold air of Switzerland, or the at-least-civilised perversions of my “Juliette” in Nanterre. I could truly almost wish I were lesbian! When Magda came ’round this morning — ostensibly to ask whether I wanted to go with her to visit Mother Mensch in hospital, but actually to comfort me for Ambrose’s infidelity — when to the surprise of both of us we found ourselves embracing and enjoying a good womanly weep together — I was so moved by her direct understanding and sympathy, so relieved to be close to another woman for a change, I could almost have Gone Right On. She too, I half think, and altogether guiltlessly. There was a rapport there… But we didn’t, and I’m not, and what would please me even better would be to be sexless altogether, as shall doubtless come to pass soon enough. In the meanwhile, and mean it is, I love and crave (and miss) that unconscionable sonofabitch Ambrose; that — that scratcher of my itch; that writer.

And I have got clear ahead of my story. No question but moviemakers have the world in their pocket in our century, as we like to imagine the 19th-century novelists did in theirs. Let Ambrose ask the skipper of the Original Floating Theatre II to delay his leaving Cambridge for half an hour so that he can make a few notes thereupon for a novel in progress: the chap wouldn’t have considered it. But let a perfectly unknown Reg Prinz show up with camera crew and the vaguest intentions in the world… the world stops, reenacts itself for take after take, does anything it can imagine its Director might wish of it!

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