John Barth - Letters

Ambrose was, you understand, feeling as emptied —by his mother’s death, by Peter’s crisis, by M. M. Co.‘s final bankruptcy, by his abandonment of that lovely Perseus project and his longtime pseudonymity — as I, in the 3rd loving week of our “mutuality,” was feeling filled. We went down there, despite our then distress, for the same reason that we will go forward with our wedding plans despite our even greater bereavement now: because Magda (and, back then, dear Peter) insisted. We wound down through your endless marshes — still, steaming, buggy — across the labyrinth of shallow waterways and distant loblolly pines in Backwater Wildlife Refuge, where I saw my first American eagle, down past Crapo and Tedious Creek to Bishops Head, at the lonely tail of Dorchester County. I thought uncomfortably of Ambrose’s having brought Bea Golden through these same marshes in July, at the beginning of hateful Stage 5, to roger her up and down the beach whilst I stewed and fretted in my flapper drag up in Dorset Heights… A hundred years ago!

But clearly, and fortunately, nothing of the sort was on my lover’s mind. I distracted him as best I could with bird and marsh plant and movie questions, but his eyes kept filling at the thought of poor Peter, poor Magda. We left our little car at the road’s end, where nothing is but a fisherman’s shack and pier, open water on three sides, and, across a mile-wide strait, low-lying, marshy Bloodsworth. Several other empty cars were parked there, among them a black limousine I knew to be Jane Mack’s — but no one was about. We wondered. Presently a lad puttered up in a “Hooper’s Island workboat” (A.’s designation) full of crab pots, and ferried us across to Cook’s lodge: a cheerful young Charon who would not accept our proffered fare.

So this, thought I, is where they fucked. Well well. There was in fact no beach, only tidal mud flats, spartina grass, cattails. A brown “gut” of water marked with stakes led to Cook’s dock; “Barataria” was a modest but comfortable white frame house, a small caretaker’s cottage, a flagpole, grass doing badly on a sandy lawn. A few crabbing skiffs and a runabout were tied at the pier; a few untidy young people loitered about (refugees from the Remobilisation Farm, they looked to me); a few mosquitoes and biting green flies said hello to us.

Where was the movie? It would arrive after lunch, Cook’s caretaker told us: a wizened, brown-burnt, friendly local whose “down-county” accent defied my ear and whose employer was off with Prinz & Co. The grips — they were indeed from Fort Erie — showed us crude sets of which they were inordinately proud, meant to represent the U.S. Capitol and the President’s House in 1814. “Gonna burn them fuckers, come dark,” etc. We were given lunch. The main company of Frames, it seemed, were shooting across the Bay, where the British had landed and reboarded after their remarkable expedition. They would return by boat sometime that afternoon.

Nothing to do but sip iced tea, worry about Peter, watch the hippies smoke dope, and wish we hadn’t come so early, or at least had brought along the Times. We were, you remember, winding up our week of ritual Abstinence, the Echo of our Reenactment of et cetera. We agreed that Monday would be welcome, family crisis or no. I found in Cook’s library a Mr Glen Tucker’s Poltroons & Patriots: A Popular Account of the War of 1812 in two volumes (1954) and did a spot of homework. Ambrose made desultory notes on his scenario.

Not till afternoon’s end did the others finally arrive, in a fine big motor yacht named Baratarian. It belonged, we assumed, to the lord of Barataria Lodge: the laureate poet and new Distinguished Visiting Lecturer in English at Marshyhope State University. He was in any case conspicuously aboard, along with a paid captain and a crowd of others, including Reg Prinz, our old chums Bruce and Brice, and that Rising Young Starlet Merope Bernstein, of Fort Erie and Scajaquada fame.

They were late, Cook explained (after a bluff, booming welcome to us as the Shameless Lovebirds of Liberal-Land, who however, despite our egregious political and moral error, were to regard his Barataria as ours) because of a fortuitous encounter with Mr Todd Andrews’s cruising boat across the Bay; they had made good use of it to film Baratarian under way and had filmed it in turn for “establishing footage,” it being a renovated old oyster-dredging sailboat. And they had stopped off at Bishops Head to unload another pair of lovebirds: Jane Mack and her fiancé, “Lord Baltimore.” It turns out that the yacht is hers, or theirs; they had kindly lent it to the Frames company for the weekend, but had themselves returned to Cambridge.

I have neglected to mention that this ruddy, fulsome nemesis of mine was rigged out in period costume; made up as, and bent on playing, his ancestor and namesake Andrew Burlingame Cook IV, of whom you know from my reports of a certain painful project whereof I long since washed my hands. The fellow had been a double agent, Cook maintained, in the British Chesapeake expedition of 1814 (news to me), and indeed was allegedly killed at Ft McH., though subsequent letters over his signature are said to have reached his widow at Castines Hundred. Be that as it may (the mere mention of that fateful place-name, and of ancestral letters, gave me a proper heartache, which Ambrose perceived, and squeezed my hand), his descendant seemed very much in charge of Prinz, B. & B., the whole business. Fresh from Mr Tucker’s history, I was struck by Cook’s likeness in face and manner, not to his forebear, of whom there are no extant portraits, but to Admiral Sir George Cockburn, Scourge of the Chesapeake, whom he had better played. Reggie framed and filmed; Bruce and Brice did their audiovisual things; Merope slouched about with wary eye, doubtless on the lookout for Jerome Bray — but Cook ran the show, in high-spirited (and high-handed) collaboration with my quondam Doctor of Letters, whose undoctoring, and my dismissal, he himself had advocated!

What to make of him? Neither André nor “Monsieur Casteene,” he was the hale, unpredictable fellow I’d first encountered, along with Joe Morgan, in the Maryland Historical Society back in 1961: back-slapper and back-stabber, yet disarmingly “up front” about both and particularly forceful. Unrepentant for having sided with John Schott against Morgan, and later against Ambrose and myself, Cook nonetheless managed, whilst improvising with my friend a whole new scenario for the evening’s shooting, to intimate to me that he was having second thoughts about his Marshyhope appointment: he had urged Schott to sound me out on possible reinstatement! “Of course,” he went so far as to add, “you’ll want to tell him where to get off. But we must have a chat about Germaine de Staël and the Bonapartes, especially between Elba and St Helena. Fascinating!”

As, one must acknowledge, is he, whoever he is. For all my urge to keep him at arm’s length (I curbed my urge to press him about his ancestor’s letters to his unborn child, and reacted neither way to the mention of my reappointment), I found myself involved — if only because Ambrose was, with a clearly therapeutic relish that warmed my heart — in the most preposterous bit of business yet mounted in this absurd production. We are a long way, John, from where we started in March, with a “motion picture based on your latest work, but echoing its predecessors”!

Are you ready? As thunderclouds pile up out over the Bay (and a pleasant buffet supper is spread by our host), Cook recounts in the first person to all assembled, from memory, his ancestor’s “posthumous” description of the burning of Washington. The man is a raconteur of some talent and has obviously absorbed his Poltroons & Patriots; whether Andrew IV’s letter is real or not, Andrew VI gives us a convincing “eyewitness” account of the events of 24 August 1814. And the shtik (to borrow Ambrose’s tidewater Yiddish) is that as he chronicles the destruction — for us and for the microphone and cameras — we move outdoors from set to set and, approximately, reenact it.