John Irving - Until I Find You

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Until I Find You When he is four years old, Jack travels with his mother Alice, a tattoo artist, to several North Sea ports in search of his father, William Burns. From Copenhagen to Amsterdam, William, a brilliant church organist and profligate womanizer, is always a step ahead — has always just departed in a wave of scandal, with a new tattoo somewhere on his body from a local master or “scratcher.”
Alice and Jack abandon their quest, and Jack is educated at schools in Canada and New England — including, tellingly, a girls’ school in Toronto. His real education consists of his relationships with older women — from Emma Oastler, who initiates him into erotic life, to the girls of St. Hilda’s, with whom he first appears on stage, to the abusive Mrs. Machado, whom he first meets when sent to learn wrestling at a local gym.
Too much happens in this expansive, eventful novel to possibly summarize it all. Emma and Jack move to Los Angeles, where Emma becomes a successful novelist and Jack a promising actor. A host of eccentric minor characters memorably come and go, including Jack’s hilariously confused teacher the Wurtz; Michelle Maher, the girlfriend he will never forget; and a precocious child Jack finds in the back of an Audi in a restaurant parking lot. We learn about tattoo addiction and movie cross-dressing, “sleeping in the needles” and the cure for cauliflower ears. And John Irving renders his protagonist’s unusual rise through Hollywood with the same vivid detail and range of emotions he gives to the organ music Jack hears as a child in European churches. This is an absorbing and moving book about obsession and loss, truth and storytelling, the signs we carry on us and inside us, the traces we can’t get rid of.
Jack has always lived in the shadow of his absent father. But as he grows older — and when his mother dies — he starts to doubt the portrait of his father’s character she painted for him when he was a child. This is the cue for a second journey around Europe in search of his father, from Edinburgh to Switzerland, towards a conclusion of great emotional force.
A melancholy tale of deception,
is also a swaggering comic novel, a giant tapestry of life’s hopes. It is a masterpiece to compare with John Irving’s great novels, and restates the author’s claim to be considered the most glorious, comic, moving novelist at work today.

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If someone had been taking his picture on Drama Night, Jack would have known it, but he wouldn’t have known if someone was watching or taking pictures when he was wrestling—he wouldn’t have heard the click of the camera shutter or the noise of the crowd. When Jack was wrestling, he even lost sight of his audience of one. In a wrestling match, either you take command of your opponent or you lose; you wrestle in an empty space, to an audience of none. And after Loomis left Redding, Jack was the team leader—for the first time, he had responsibilities.

He was the leader on the team bus, too. His teammates were either asleep and farting—or doing their homework with flashlights and farting. (They were instructed to create a minimum of distractions for the bus driver.)

Sometimes Jack would tell stories on the way back to Redding. He told the one about the littlest soldier saving him from the Kastelsgraven, and the one about putting the bandage on Ingrid Moe’s breast after his mom tattooed her there. He told the one about Saskia’s bracelets, including how horribly one of her customers had burned her—but not the one about his mom breaking her pearl necklace in her efforts to be an advice-giver to that young boy in Amsterdam. And nothing about Mrs. Machado, of course.

Jack bragged that his “stepsister,” Emma, could beat anyone on the Redding wrestling team, with the exception of Loomis, who at that time hadn’t yet been kicked out of Blair. (Everyone at Redding, except Noah and Mrs. Adkins, thought that Jack’s mother was a famous tattoo artist who lived with a guy named Mr. Oastler, who was Emma’s dad. )

Possibly Jack told these stories because he missed not only Emma but also his mother and Mrs. Oastler—even Mrs. Machado, or at least her roughness, which was nowhere to be found in the gentler persuasions of Mrs. Adkins. Maybe he missed Mrs. Machado’s crudeness, too.

Jack also told the story of his greatest onstage triumph to date, which was his role in A Mail-Order Bride in the Northwest Territories. This was a dangerous story to tell on the team bus. Coach Clum objected to the word menstruation; once when Jack used it, the coach put down a half-point against the boy.

In his eighth-grade year, when Jack was co-captain of the wrestling team, they had a lightweight named Lambrecht—a new sixth grader from Arizona. He had grown up in the desert and had never seen snow before, let alone a road sign saying FROST HEAVES.

He must have had some difficulty reading in the dark, and the road signs out the window of the moving bus went by very fast at night, because Lambrecht asked, of no one in particular: “What’s a frost heavy?” His question hung there in the semidark bus; the sleepers and nonstop farters never stirred. Jack was memorizing Matthew Arnold at that moment. He turned off his flashlight and waited to see if anyone would answer Lambrecht. “We don’t have frost heavies in Arizona,” Lambrecht continued.

“Frost heavies are hard to see at night,” Jack told Lambrecht. “They’re so low to the ground that the headlights don’t reflect in their eyes, and they’re the color of the road.”

“But what are they?” Lambrecht asked.

Those bus rides were pure improv ! “Look, just don’t go out of your dorm at night, Lambrecht—not at this time of year. Frost heavies are nocturnal.”

“But what do frost heavies do ?” Lambrecht asked. He was getting agitated, in the peculiar way that lightweights express their agitation—his voice was pretty shrill under normal circumstances. That must have been what prompted Mike Heller, the team’s heavyweight, to put an end to Jack’s game. Heller was a humorless soul. He was a grumpy guy with too much baby fat to be a legitimate heavyweight; he never won a match, at least not one Jack saw.

“For Christ’s sake, Lambrecht, can’t you read ?” Heller asked. “The sign says frost heaves, not frost heavies. You know heaves, like heaves in the road? Fucking potholes, you moron!”

“That’s one and a half points against you, Mike—correction, make that two, ” Coach Clum said. (He was never really asleep.) “A half-point for Christ, a half-point for fucking, and one full point for moron, which you truly are, Lambrecht—but moron is a derogatory word, if I ever heard one.”

“Damn!” Heller said.

“Make that two and a half, ” Coach Clum said.

“So frost heaves are just bumps in the road?” Lambrecht asked.

“I’m surprised you don’t have frost in Arizona,” Jack said.

“In parts of Arizona, we do,” Lambrecht replied. “We just don’t have the road signs—or the heaves, I guess.”

Jesus, Lambrecht!” Heller cried.

“That’s three, Heller,” Coach Clum said. “You’re not having a very good road trip.”

“When does Heller ever have a good road trip?” Jack asked. He had no points against him for the month. He knew he could afford one.

To Jack’s surprise, Coach Clum said: “That’s two against you, Burns. It is derogatory of you to call our attention to Heller’s losing record, but it’s also dismissive of Lambrecht’s intelligence to encourage him to imagine that frost heavies exist, that they have eyes and are low to the ground—”

“—and they’re the color of the fucking road !” Lambrecht interrupted him.

“That’s a half-point against you, Lambrecht,” Coach Clum said.

They were somewhere in Rhode Island, or maybe it was Massachusetts. They were a long way from Maine, Jack knew. How he loved those nights! He turned his flashlight back on and redirected his thoughts to the task of memorizing “Dover Beach”—not a short poem, and one with an overlong first stanza.

“ ‘ The sea is calm tonight, ’ ” Jack read aloud, thinking it magnanimous of him to change the subject.

“Save it for Drama Night, Burns,” Coach Clum said. “Just memorize it to yourself, if you don’t mind.”

He wasn’t a bad guy, Coach Clum, but he never accepted what he presumed was the vanity of Jack having his cauliflower ears drained. When Mike Heller called Jack a “sissy” for not wanting to go through the rest of his life with cauliflower ears, Coach Clum not only awarded a point against Heller for sissy, which was clearly derogatory— the coach made Heller get his next cauliflower ear drained. “Does it hurt, Mike?” Coach Clum asked the heavyweight, standing over him while the fluid from the damaged ear was being extracted in the training room.

“Yeah,” Heller answered. “It hurts.”

“Well, then, the right word for Burns wouldn’t be sissy, would it?” the coach asked. “ Vain, maybe,” Coach Clum said, “but not sissy.

“Okay, Burns is vain, then,” Heller said, wincing.

“Right you are, Mike,” Coach Clum said. “But vain is a point against you, too.”

One night on the team bus, when Coach Clum and Jack were the only ones awake, Jack had a somewhat philosophical conversation with him. “I want to be an actor,” he told his coach. “I wouldn’t say it was vain for an actor not to want cauliflower ears. I would say it was practical.

“Hmm,” Coach Clum said. Maybe he wasn’t really awake, Jack thought. But Coach Clum was just thinking it over. “Let me put it to you this way, Jack,” he said. “ If it turns out that you’re a movie star, I’ll tell everyone that you were one of the most practical wrestlers I ever had the privilege to coach.”

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