What remains to him are moments of tender regard, in nakedness or on the way to it. Vanessa always achieved orgasm, but there was something brisk, even dismissive, in her way of seizing it, as opposed to Alissa’s whimpering, finger-sucking dissolution in cascading ripples of sensation that delivered her to what always seemed a fresh surprise. Dear Faye, apparently, flirted on the edge, but with an infectious, innocent gaiety that made her easy to love. Karen had been the least trouble; to her in her generation it had been no big deal, like a coffee break or a spasm of exercise after sitting too long on an airplane. No, this is not fair. She, too, and Jacqueline and Antoinette and Mirabella, especially Mirabella with her spun-sugar hair, brought transcendent value to the act, the supreme interaction. People must be romantic or fail to lift themselves above the deadpan copulation of sheep and squirrels. Phyllis’s impatient permission, in that Cape Cod cabin smelling of salt air and pine sap—Let’s just do it—set an unfortunate grudging tone, perhaps, but did let him enter a realm wherein his own mysterious existence needed no explaining. Things come, for the instant, clear. Owen’s past is like a sheet of inky-blue tissue paper held up to a light, so the holes pricked in it shine: these stars are the women who let him fuck them.
It was a celibate villager who wrote, “We know not where we are. Beside, we are sound asleep nearly half our time. Yet we esteem ourselves wise, and have an established order on the surface.” Such a surface order makes possible human combinations and moments of tender regard. It is a mad thing, to be alive. Villages exist to moderate this madness—to hide it from children, to bottle it for private use, to smooth its imperatives into habits, to protect us from the darkness without and the darkness within.
Also by John Updike
POEMS
The Carpentered Hen (1958) • Telephone Poles (1963) • Midpoint (1969) • Tossing and Turning (1977) • Facing Nature (1985) • Collected Poems 1953–1993 (1993) • Americana (2001) • Endpoint (2009)
The Poorhouse Fair (1959) • Rabbit, Run (1960) • The Centaur (1963) • Of the Farm (1965) • Couples (1968) • Rabbit Redux (1971) • A Month of Sundays (1975) • Marry Me (1976) • The Coup (1978) • Rabbit Is Rich (1981) • The Witches of Eastwick (1984) • Roger’s Version (1986) • S. (1988) • Rabbit at Rest (1990) • Memories of the Ford Administration (1992) • Brazil (1994) • In the Beauty of the Lilies (1996) • Toward the End of Time (1997) • Gertrude and Claudius (2000) • Seek My Face (2002) • Villages (2004) • Terrorist (2006) • The Widows of Eastwick (2008)
SHORT STORIES
The Same Door (1959) • Pigeon Feathers (1962) • Olinger Stories (a selection, 1964) • The Music School (1966) • Bech: A Book (1970) • Museums and Women (1972) • Problems (1979) • Too Far to Go (a selection, 1979) • Bech Is Back (1982) • Trust Me (1987) • The Afterlife (1994) • Bech at Bay (1998) • Licks of Love (2000) • The Complete Henry Bech (2001) • The Early Stories: 1953–1975 (2003) • My Father’s Tears (2009) • The Maples Stories (2009)
ESSAYS AND CRITICISM
PLAY MEMOIRS
Buchanan Dying (1974) Self-Consciousness (1989)
CHILDREN’S BOOKS
The Magic Flute (1962) • The Ring (1964) • A Child’s Calendar (1965) • Bottom’s Dream (1969) • A Helpful Alphabet of Friendly Objects (1996)