John Irving - In One Person

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In One Person: краткое содержание, описание и аннотация

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A compelling novel of desire, secrecy, and sexual identity,
is a story of unfulfilled love—tormented, funny, and affecting—and an impassioned embrace of our sexual differences. Billy, the bisexual narrator and main character of In One Person, tells the tragicomic story (lasting more than half a century) of his life as a “sexual suspect,” a phrase first used by John Irving in 1978 in his landmark novel of “terminal cases,” The World According to Garp.
His most political novel since
and
, John Irving’s
is a poignant tribute to Billy’s friends and lovers—a theatrical cast of characters who defy category and convention. Not least, In One Person is an intimate and unforgettable portrait of the solitariness of a bisexual man who is dedicated to making himself “worthwhile.” * * *
“This tender exploration of nascent desire, of love and loss, manages to be sweeping, brilliant, political, provocative, tragic, and funny—it is precisely the kind of astonishing alchemy we associate with a John Irving novel. The unfolding of the AIDS epidemic in the United States in the ’80s was the defining moment for me as a physician. With my patients’ deaths, almost always occurring in the prime of life, I would find myself cataloging the other losses—namely, what these people might have offered society had they lived the full measure of their days: their art, their literature, the children they might have raised.
is the novel that for me will define that era. A profound truth is arrived at in these pages. It is Irving at his most daring, at his most ambitious. It is America and American writing, both at their very best.”
— ABRAHAM VERGHESE “
is a novel that makes you proud to be human. It is a book that not only accepts but also loves our differences. From the beginning of his career, Irving has always cherished our peculiarities—in a fierce, not a saccharine, way. Now he has extended his sympathies—and ours—still further into areas that even the misfits eschew. Anthropologists say that the interstitial—whatever lies between two familiar opposites—is usually declared either taboo or sacred. John Irving in this magnificent novel—his best and most passionate since
—has sacralized what lies between polarizing genders and orientations. And have I mentioned it is also a gripping page-turner and a beautifully constructed work of art?”
— EDMUND WHITE

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I knew the answer—it was always her answer. “Yes, I know—you’re committed to changing your body.”

“I’m not an amateur,” Donna repeated.

“I know—just don’t change your breasts. They’re perfect,” I told her, and went back to bed.

“You know what’s the matter with you, Billy?” Donna asked me. I was already in bed, with my back turned to the light coming from under the door of the walk-in closet. I knew her answer to this question, too, but I didn’t say anything. “You’re not like anyone else, Billy—that’s what’s the matter with you,” Donna said.

AS FOR CROSS-DRESSING, DONNA could never interest me in trying on her clothes. She would talk, from time to time, about the seemingly remote possibility of surgery—not just the breast implants, which were tempting to many transsexuals, but the bigger deal, the sex-change surgery. Technically speaking, Donna—and every other transsexual who ever attracted me—was what they call a “pre-op.” (I know only a few post-op transsexuals. The ones I know are very courageous. It’s daunting to be around them; they know themselves so well. Imagine knowing yourself that well! Imagine being that sure about who you are.)

Donna would say, “I suppose you were never curious—I mean, to be like me.”

“That’s right,” I told her, truthfully.

“I suppose, all your life, you’ve wanted to keep your penis—you probably really like it,” she said.

“I like yours, too,” I told her—also truthfully.

“I know you do,” she said, sighing. “I just don’t always like it so much myself. But I always like yours, ” Donna quickly added.

Poor Tom would have found Donna too “complicated,” I think, but I thought she was very brave.

I found it intimidating that Donna was so certain about who she was, but that was also one of the things I loved about her—that and the cute, rightward inclination of her penis, which reminded me of you-know-who.

As it would turn out, my only exposure to Kittredge’s penis was what I managed to glimpse of him—always furtively—in the showers at the Favorite River gym.

I had much more exposure to Donna’s penis. I saw as much of her as I wanted, though—in the beginning—I had such an insatiable hunger for her (and for other transsexuals, albeit only the ones who were like her) that I couldn’t imagine ever seeing or having enough of Donna. In the end, I didn’t move on because I was tired of her, or because she ever doubted or had second thoughts about who she was. In the end, it was me she doubted. It was Donna who moved on, and her distrust of me made me doubt myself.

When I stopped seeing Donna (more accurately, when she stopped seeing me), I became more cautious with transsexuals—not because I no longer desired them, and I still find them extraordinarily brave, but because transsexuals (Donna, especially) forced me to acknowledge the most confusing aspects of my bisexuality every fucking day! Donna was exhausting.

“I usually like straight guys,” she would constantly remind me. “I also like other transsexuals—not just the ones like me, you know.”

“I know, Donna,” I would assure her.

“And I can deal with straight guys who also like women—after all, I’m trying to live my life, all the time, as a woman. I’m just a woman with a penis!” she would say, her voice rising.

“I know, I know,” I would tell her.

“But you also like other guys— just guys— and you like women, Billy.”

“Yes, I do— some women,” I would admit to her. “And cute guys—not all cute guys,” I would remind her.

“Yeah, well—fuck what all means, Billy,” Donna would say. “What gets to me is that I don’t know what you like about me, and what it is about me that you don’t like.”

“There’s nothing about you I don’t like, Donna. I like all of you,” I promised her.

“Yeah, well—if you’re going to leave me for a woman, like a straight guy one day would, I get it. Or if you’re going to go back to guys, like a gay guy one day would—well, I get that, too,” Donna said. “But the thing about you, Billy—and I don’t get this at all —is that I don’t know who or what you’re going to leave me for.”

“I don’t know, either,” I would tell her, truthfully.

“Yeah, well—that’s why I’m leaving you, Billy,” Donna said.

“I’m going to miss you like crazy,” I told her. (This was also true.)

“I’m already getting over you, Billy,” was all she said. But until that night in Hamburg, I believed that Donna and I had a chance together.

I USED TO BELIEVE my mom and I had a chance together, too. I mean more than the “chance” of staying friends; I mean that I used to think nothing could ever drive us apart. My mother once worried about my most minor injuries—she imagined my life was in danger at the first cough or sneeze. There was something childlike about her fears for me; my nightmares gave her nightmares, my mom once said.

My mother told me that, as a child, I had “fever dreams”; if so, they persisted into my teenage years. Whatever they were, they seemed more real than dreams. If there was any reality to the most recurrent of these dreams, it eluded me for the longest time. But one night, when I’d been sick—I was actually recuperating from scarlet fever—it seemed that Richard Abbott was telling me a war story, yet Richard’s only war story was the lawn-mower accident that had disqualified him from military service. This wasn’t Richard Abbott’s story; it was my father’s war story, or one of them, and Richard couldn’t possibly have told it to me.

The story (or the dream) began in Hampton, Virginia—Hampton Roads, Port of Embarkation, was where my code-boy father boarded a transport ship for Italy. The transports were Liberty ships. The ground cadre of the 760th Bomb Squadron left Virginia on a dark and threatening January day; within the sheltered harbor, the soldiers had their first meal at sea—pork chops, I was told (or dreamed). When my dad’s convoy hit the open seas, the Liberty ships encountered an Atlantic winter storm. The enlisted personnel occupied the fore and aft holds; each man had his helmet hung by his bunk—the helmets would soon become vomit basins for seasick soldiers. But the sergeant didn’t get seasick. My mom had told me that he’d grown up on Cape Cod; as a boy, he’d been a sailor—he was immune to seasickness.

Consequently, my code-boy dad did his duty—he emptied the seasick soldiers’ helmets. Amidships, at deck level—a laborious climb from the bunks, below the deck—was a huge head. (Even in the dream, I had to interrupt the story and ask what a “head” was; the person I thought was Richard, but it couldn’t have been Richard, told me that the head was a huge latrine—the toilets stretched across the entire ship.)

During one of many helmet-emptying ordeals, my father stopped to sit down on one of the toilets. There was no point in trying to pee while standing up; the ship was pitching and rolling—you had to sit down. My dad sat on the toilet with both his hands gripping the seat. Seawater sloshed around his ankles, soaking his shoes and pants. At the farthest end of the long row of toilets, another soldier sat holding the seat, but this soldier’s grip was precarious. My dad saw that the other soldier was also immune to seasickness; he was actually reading, holding on to the toilet seat with only one hand. When the ship suddenly pitched more steeply, the bookworm lost his grip. He came skipping over the toilet seats—his ass made a slapping sound—until he collided with my father at the opposite end of the row of toilets.

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