THE MADNESS of an autumn prairie cold front coming through. You could feel it: something terrible was going to happen. The sun low in the sky, a minor light, a cooling star. Gust after gust of disorder. Trees restless, temperatures falling, the whole northern religion of things coming to an end. No children in the yards here. Shadows lengthened on yellowing zoysia. Red oaks and pin oaks and swamp white oaks rained acorns on houses with no mortgage. Storm windows shuddered in the empty bedrooms. And the drone and hiccup of a clothes dryer, the nasal contention of a leaf blower, the ripening of local apples in a paper bag, the smell of the gasoline with which Alfred Lambert had cleaned the paintbrush from his morning painting of the wicker love seat.

Three in the afternoon was a time of danger in these gerontocratic suburbs of St. Jude. Alfred had awakened in the great blue chair in which he'd been sleeping since lunch. He'd had his nap and there would be no local news until five o'clock. Two empty hours were a sinus in which infections bred. He struggled to his feet and stood by the Ping-Pong table, listening in vain for Enid.

Ringing throughout the house was an alarm bell that no one but Alfred and Enid could hear directly. It was the alarm bell of anxiety. It was like one of those big cast-iron dishes with an electric clapper that send schoolchildren into the street in fire drills. By now it had been ringing for so many hours that the Lamberts no longer heard the message of "bell ringing" but, as with any sound that continues for so long that you have the leisure to learn its component sounds (as with any word you stare at until it resolves itself into a string of dead letters), instead heard a clapper rapidly striking a metallic resonator, not a pure tone but a granular sequence of percussions with a keening overlay of overtones; ringing for so many days that it simply blended into the background except at certain early-morning hours when one or the other of them awoke in a sweat and realized that a bell had been ringing in their heads for as long as they could remember; ringing for so many months that the sound had given way to a kind of metasound whose rise and fall was not the beating of compression waves but the much, much slower waxing and waning of their consciousness of the sound. Which consciousness was particularly acute when the weather itself was in an anxious mood. Then Enid and Alfred-she on her knees in the dining room opening drawers, he in the basement surveying the disastrous Ping-Pong table-each felt near to exploding with anxiety.

The anxiety of coupons, in a drawer containing candles in designer autumn colors. The coupons were bundled in a rubber band, and Enid was realizing that their expiration dates (often jauntily circled in red by the manufacturer) lay months and even years in the past: that these hundred-odd coupons, whose total face value exceeded sixty dollars (potentially one hundred twenty dollars at the Chiltsville supermarket that doubled coupons), had all gone bad. Tilex, sixty cents off. Excedrin PM, a dollar off. The dates were not even close. The dates were historical. The alarm bell had been ringing for years.

She pushed the coupons back in among the candles and shut the drawer. She was looking for a letter that had come by Registered mail some days ago. Alfred had heard the mailman knock on the door and had shouted, "Enid! Enid!" so loudly that he couldn't hear her shouting back, "Al, I'm getting it!" He'd continued to shout her name, coming closer and closer, and because the sender of the letter was the Axon Corporation, 24 East Industrial Serpentine, Schwenksville, PA, and because there were aspects of the Axon situation that Enid knew about and hoped that Alfred didn't, she'd quickly stashed the letter somewhere within fifteen feet of the front door. Alfred had emerged from the basement bellowing like a piece of earth-moving equipment, "There's somebody at the door!" and she'd fairly screamed, "The mailman! The mailman!" and he'd shaken his head at the complexity of it all.

Enid felt sure that her own head would clear if only she didn't have to wonder, every five minutes, what Alfred was up to. But, try as she might, she couldn't get him interested in life. When she encouraged him to take up his metallurgy again, he looked at her as if she'd lost her mind. When she asked whether there wasn't some yard work he could do, he said his legs hurt. When she reminded him that the husbands of her friends all had hobbies (Dave Schumpert his stained glass, Kirby Root his intricate chalets for nesting purple finches, Chuck Meisner his hourly monitoring of his investment portfolio), Alfred acted as if she were trying to distract him from some great labor of his. And what was that labor? Repainting the porch furniture? He'd been repainting the love seat since Labor Day. She seemed to recall that the last time he'd painted the furniture he'd done the love seat in two hours. Now he went to his workshop morning after morning, and after a month she ventured in to see how he was doing and found that all he'd painted of the love seat was the legs.

He seemed to wish that she would go away. He said that the brush had got dried out, that that was what was taking so long. He said that scraping wicker was like trying to peel a blueberry. He said that there were crickets. She felt a shortness of breath then, but perhaps it was only the smell of gasoline and of the dampness of the workshop that smelled like urine (but could not possibly be urine). She fled upstairs to look for the letter from Axon.

Six days a week several pounds of mail came through the slot in the front door, and since nothing incidental was allowed to pile up downstairs-since the fiction of living in this house was that no one lived here-Enid faced a substantial tactical challenge. She didn't think of herself as a guerrilla, but a guerrilla was what she was. By day she ferried materiel from depot to depot, often just a step ahead of the governing force. By night, beneath a charming but too-dim sconce at a too-small table in the breakfast nook, she staged various actions: paid bills, balanced checkbooks, attempted to decipher Medicare co-payment records and make sense of a threatening Third Notice from a medical lab that demanded immediate payment of $0.22 while simultaneously showing an account balance of $0.00 carried forward and thus indicating that she owed nothing and in any case offering no address to which remittance might be made. It would happen that the First and Second Notices were underground somewhere, and because of the constraints under which Enid waged her campaign she had only the dimmest sense of where those other Notices might be on any given evening. She might suspect, perhaps, the family-room closet, but the governing force, in the person of Alfred, would be watching a network newsmagazine at a volume thunderous enough to keep him awake, and he had every light in the family room burning, and there was a non-negligible possibility that if she opened the closet door a cascade of catalogues and House Beautifuls and miscellaneous Merrill Lynch statements would come toppling and sliding out, incurring Alfred's wrath. There was also the possibility that the Notices would not be there, since the governing force staged random raids on her depots, threatening to "pitch" the whole lot of it if she didn't take care of it, but she was too busy dodging these raids to ever quite take care of it, and in the succession of forced migrations and deportations any lingering semblance of order was lost, and so the random Nordstrom shopping bag that was camped behind a dust ruffle with one of its plastic handles semidetached would contain the whole shuffled pathos of a refugee existence-non-consecutive issues of Good Housekeeping, black-and-white snapshots of Enid in the 1940s, brown recipes on high-acid paper that called for wilted lettuce, the current month's telephone and gas bills, the detailed First Notice from the medical lab instructing co-payers to ignore subsequent billings for less than fifty cents, a complimentary cruise ship photo of Enid and Alfred wearing leis and sipping beverages from hollow coconuts, and the only extant copies of two of their children's birth certificates, for example.

Although Enid's ostensible foe was Alfred, what made her a guerrilla was the house that occupied them both. Its furnishings were of the kind that brooked no clutter. There were chairs and tables by Ethan Allen. Spode and Waterford in the breakfront. Obligatory ficuses, obligatory Norfolk pines. Fanned copies of Architectural Digest on a glass-topped coffee table. Touristic plunder-enamelware from China, a Viennese music box that Enid out of a sense of duty and mercy every so often wound up and raised the lid of. The tune was "Strangers in the Night."

Unfortunately, Enid lacked the temperament to manage such a house, and Alfred lacked the neurological wherewithal. Alfred's cries of rage on discovering evidence of guerrilla actions-a Nordstrom bag surprised in broad daylight on the basement stairs, nearly precipitating a tumble-were the cries of a government that could no longer govern. He'd lately developed a knack for making his printing calculator spit columns of meaningless eight-digit figures. After he devoted the better part of an afternoon to figuring the cleaning woman's social security payments five different times and came up with four different numbers and finally just accepted the one number ($635.78) that he'd managed to come up with twice (the correct figure was $70.00), Enid staged a nighttime raid on his filing cabinet and relieved it of all tax files, which might have improved household efficiency had the files not found their way into a Nordstrom bag with some misleadingly ancient Good Housekeepings concealing the more germane documents underneath, which casualty of war led to the cleaning woman's filling out the forms herself, with Enid merely writing the checks and Alfred shaking his head at the complexity of it all.

It's the fate of most Ping-Pong tables in home basements eventually to serve the ends of other, more desperate games. After Alfred retired he appropriated the eastern end of the table for his banking and correspondence. At the western end was the portable color TV on which he'd intended to watch the local news while sitting in his great blue chair but which was now fully engulfed by Good Housekeepings and the seasonal candy tins and baroque but cheaply made candle holders that Enid never quite found time to transport to the Nearly New consignment shop. The Ping-Pong table was the one field on which the civil war raged openly. At the eastern end Alfred's calculator was ambushed by floral print pot-holders and souvenir coasters from the Epcot Center and a device for pitting cherries which Enid had owned for thirty years and never used, while he, in turn, at the western end, for absolutely no reason that Enid could ever fathom, ripped to pieces a wreath made of pinecones and spray-painted filberts and brazil nuts.

To the east of the Ping-Pong table was the workshop that housed Alfred's metallurgical lab. The workshop was now home to a colony of mute, dust-colored crickets, which, when startled, would scatter across the room like a handful of dropped marbles, some of them misfiring at crazy angles, others toppling over with the weight of their own copious protoplasm. They popped all too easily, and cleanup took more than one Kleenex. Enid and Alfred had many afflictions which they believed to be extraordinary, outsized-shameful-and the crickets were one of them.

The gray dust of evil spells and the cobwebs of enchantment thickly cloaked the old electric arc furnace, and the jars of exotic rhodium and sinister cadmium and stalwart bismuth, and the hand-printed labels browned by the vapors from a glass-stoppered bottle of aqua regia, and the quad-ruled notebook in which the latest entry in Alfred's hand dated from a time, fifteen years ago, before the betrayals had begun. Something as daily and friendly as a pencil still occupied the random spot on the workbench where Alfred had laid it in a different decade; the passage of so many years imbued the pencil with a kind of enmity. Asbestos mitts hung from a nail beneath two certificates of U. S. patents, the frames warped and sprung by dampness. On the hood of a binocular microscope lay big chips of peeled paint from the ceiling. The only dust-free objects in the room were the wicker love seat, a can of Rust-Oleum and some brushes, and a couple of Yuban coffee cans which despite increasingly strong olfactory evidence Enid chose not to believe were filling up with her husband's urine, because what earthly reason could he have, with a nice little half-bathroom not twenty feet away, for peeing in a Yuban can?

To the west of the Ping-Pong table was Alfred's great blue chair. The chair was overstuffed, vaguely gubernatorial. It was made of leather, but it smelled like the inside of a Lexus. Like something modern and medical and impermeable that you could wipe the smell of death off easily, with a damp cloth, before the next person sat down to die in it.

The chair was the only major purchase Alfred had ever made without Enid's approval. When he'd traveled to China to confer with Chinese railroad engineers, Enid had gone along and the two of them had visited a rug factory to buy a rug for their family room. They were unaccustomed to spending money on themselves, and so they chose one of the least expensive rugs, with a simple blue design from the Book of Changes on a solid field of beige. A few years later, when Alfred retired from the Midland Pacific Railroad, he set about replacing the old cow-smelling black leather armchair in which he watched TV and took his naps. He wanted something really comfortable, of course, but after a lifetime of providing for others he needed more than just comfort: he needed a monument to this need. So he went, alone, to a non-discount furniture store and picked out a chair of permanence. An engineer's chair. A chair so big that even a big man got lost in it; a chair designed to bear up under heavy stress. And because the blue of its leather vaguely matched the blue in the Chinese rug, Enid had no choice but to suffer its deployment in the family room.

Soon, however, Alfred's hands were spilling decaffeinated coffee on the rug's beige expanses, and wild grandchildren were leaving berries and crayons underfoot, and Enid began to feel that the rug was a mistake. It seemed to her that in trying to save money in life she had made many mistakes like this. She reached the point of thinking it would have been better to buy no rug than to buy this rug. Finally, as Alfred's naps deepened toward enchantment, she grew bolder. Her own mother had left her a tiny inheritance years ago. Interest had been added to principal, certain stocks had performed rather well, and now she had an income of her own. She reconceived the family room in greens and yellows. She ordered fabrics. A paperhanger came, and Alfred, who was napping temporarily in the dining room, leaped to his feet like a man with a bad dream.

"You're redecorating again?"

"It's my own money," Enid said. "This is how I'm spending it."

"And what about the money I made? What about the work I did?"

This argument had been effective in the past-it was, so to speak, the constitutional basis of the tyranny's legitimacy-but it didn't work now. "That rug is nearly ten years old, and we'll never get the coffee stains out," Enid answered.

Alfred gestured at his blue chair, which under the paperhanger's plastic dropcloths looked like something you might deliver to a power station on a flatbed truck. He was trembling with incredulity, unable to believe that Enid could have forgotten this crushing refutation of her arguments, this overwhelming impediment to her plans. It was as if all the unfreedom in which he'd spent his seven decades of life were embodied in this six-year-old but essentially brand-new chair. He was grinning, his face aglow with the awful perfection of his logic.

"And what about the chair, then?" he said. "What about the chair?"

Enid looked at the chair. Her expression was merely pained, no more. "I never liked that chair."

This was probably the most terrible thing she could have said to Alfred. The chair was the only sign he'd ever given of having a personal vision of the future. Enid's words filled him with such sorrow-he felt such pity for the chair, such solidarity with it, such astonished grief at its betrayal-that he pulled off the dropcloth and sank into its arms and fell asleep.

(It was a way of recognizing places of enchantment: people falling asleep like this.)

When it became clear that both the rug and Alfred's chair had to go, the rug was easily shed. Enid advertised in the free local paper and netted a nervous bird of a woman who was still making mistakes and whose fifties came out of her purse in a disorderly roll that she unpeeled and flattened with shaking fingers.

But the chair? The chair was a monument and a symbol and could not be parted from Alfred. It could only be relocated, and so it went into the basement and Alfred followed. And so in the house of the Lamberts, as in St. Jude, as in the country as a whole, life came to be lived underground.

Enid could hear Alfred upstairs now, opening and closing drawers. He became agitated whenever they were going to see their children. Seeing their children was the only thing he seemed to care about anymore.

In the streaklessly clean windows of the dining room there was chaos. The berserk wind, the negating shadows. Enid had looked everywhere for the letter from the Axon Corporation, and she couldn't find it.

Alfred was standing in the master bedroom wondering why the drawers of his dresser were open, who had opened them, whether he had opened them himself. He couldn't help blaming Enid for his confusion. For witnessing it into existence. For existing, herself, as a person who could have opened these drawers.

"Al? What are you doing?"

He turned to the doorway where she'd appeared. He began a sentence: "I am-" but when he was taken by surprise, every sentence became an adventure in the woods; as soon as he could no longer see the light of the clearing from which he'd entered, he would realize that the crumbs he'd dropped for bearings had been eaten by birds, silent deft darting things which he couldn't quite see in the darkness but which were so numerous and swarming in their hunger that it seemed as if they were the darkness, as if the darkness weren't uniform, weren't an absence of light but a teeming and corpuscular thing, and indeed when as a studious teenager he'd encountered the word "crepuscular" in McKay's Treasury of English Verse, the corpuscles of biology had bled into his understanding of the word, so that for his entire adult life he'd seen in twilight a corpuscularity, as of the graininess of the high-speed film necessary for photography under conditions of low ambient light, as of a kind of sinister decay; and hence the panic of a man betrayed deep in the woods whose darkness was the darkness of starlings blotting out the sunset or black ants storming a dead opossum, a darkness that didn't just exist but actively consumed the bearings that he'd sensibly established for himself, lest he be lost; but in the instant of realizing he was lost, time became marvelously slow and he discovered hitherto unguessed eternities in the space between one word and the next, or rather he became trapped in that space between words and could only stand and watch as time sped on without him, the thoughtless boyish part of him crashing on out of sight blindly through the woods while he, trapped, the grownup Al, watched in oddly impersonal suspense to see if the panic-stricken little boy might, despite no longer knowing where he was or at what point he'd entered the woods of this sentence, still manage to blunder into the clearing where Enid was waiting for him, unaware of any woods-"packing my suitcase," he heard himself say. This sounded right. Verb, possessive, noun. Here was a suitcase in front of him, an important confirmation. He'd betrayed nothing.

But Enid had spoken again. The audiologist had said that he was mildly impaired. He frowned at her, not following.

"It's Thursday," she said, louder. "We're not leaving until Saturday."

"Saturday!" he echoed.

She berated him then, and for a while the crepuscular birds retreated, but outside the wind had blown the sun out, and it was getting very cold.

DOWN THE LONG CONCOURSE they came unsteadily, Enid favoring her damaged hip, Alfred paddling at the air with loose-hinged hands and slapping the airport carpeting with poorly controlled feet, both of them carrying Nordic Pleasurelines shoulder bags and concentrating on the floor in front of them, measuring out the hazardous distance three paces at a time. To anyone who saw them averting their eyes from the dark-haired New Yorkers careering past them, to anyone who caught a glimpse of Alfred's straw fedora looming at the height of Iowa corn on Labor Day, or the yellow wool of the slacks stretching over Enid's out-slung hip, it was obvious that they were midwestern and intimidated. But to Chip Lambert, who was waiting for them just beyond the security checkpoint, they were killers.

Chip had crossed his arms defensively and raised one hand to pull on the wrought-iron rivet in his ear. He worried that he might tear the rivet right out of his earlobe-that the maximum pain his ear's nerves could generate was less pain than he needed now to steady himself. From his station by the metal detectors he watched an azure-haired girl overtake his parents, an azure-haired girl of college age, a very wantable stranger with pierced lips and eyebrows. It struck him that if he could have sex with this girl for one second he could face his parents confidently, and that if he could keep on having sex with this girl once every minute for as long as his parents were in town he could survive their entire visit. Chip was a tall, gym-built man with crow's-feet and sparse butter-yellow hair; if the girl had noticed him, she might have thought he was a little too old for the leather he was wearing. As she hurried past him, he pulled harder on his rivet to offset the pain of her departure from his life forever and to focus his attention on his father, whose face was brightening at the discovery of a son among so many strangers. In the lunging manner of a man floundering in water, Alfred fell upon Chip and grabbed Chip's hand and wrist as if they were a rope he'd been thrown. "Well!" he said. "Well!"

Enid came limping up behind him. "Chip," she cried, "what have you done to your ears?"

"Dad, Mom," Chip murmured through his teeth, hoping the azure-haired girl was out of earshot. "Good to see you."

He had time for one subversive thought about his parents' Nordic Pleasurelines shoulder bags-either Nordic Pleasurelines sent bags like these to every booker of its cruises as a cynical means of getting inexpensive walk-about publicity or as a practical means of tagging the cruise participants for greater ease of handling at embarkation points or as a benign means of building esprit de corps; or else Enid and Alfred had deliberately saved the bags from some previous Nordic Pleasurelines cruise and, out of a misguided sense of loyalty, had chosen to carry them on their upcoming cruise as well; and in either case Chip was appalled by his parents' willingness to make themselves vectors of corporate advertising-before he shouldered the bags himself and assumed the burden of seeing LaGuardia Airport and New York City and his life and clothes and body through the disappointed eyes of his parents.

He noticed, as if for the first time, the dirty linoleum, the assassin-like chauffeurs holding up signs with other people's names on them, the snarl of wires dangling from a hole in the ceiling. He distinctly heard the word "motherfucker." Outside the big windows on the baggage level, two Bangladeshi men were pushing a disabled cab through rain and angry honking.

"We have to be at the pier by four," Enid said to Chip. "And I think Dad was hoping to see your desk at the Wall Street Journal." She raised her voice. "Al? Al?"

Though stooped in the neck now, Alfred was still an imposing figure. His hair was white and thick and sleek, like a polar bear's, and the powerful long muscles of his shoulders, which Chip remembered laboring in the spanking of a child, usually Chip himself, still filled the gray tweed shoulders of his sport coat.

"Al, didn't you say you wanted to see where Chip worked?" Enid shouted.

Alfred shook his head. "There's no time."

The baggage carousel circulated nothing.

"Did you take your pill?" Enid said.

"Yes," Alfred said. He closed his eyes and repeated slowly, "I took my pill. I took my pill. I took my pill."

"Dr. Hedgpeth has him on a new medication," Enid explained to Chip, who was quite certain that his father had not, in fact, expressed interest in seeing his office. And since Chip had no association with the Wall Street Journal-the publication to which he made unpaid contributions was the Warren Street Journal: A Monthly of the Transgressive Arts; he'd also very recently completed a screenplay, and he'd been working part-time as a legal proofreader at Bragg Knuter & Speigh for the nearly two years since he'd lost his assistant professorship in Textual Artifacts at D-- College, in Connecticut, as a result of an offense involving a female undergraduate which had fallen just short of the legally actionable and which, though his parents never learned of it, had interrupted the parade of accomplishments that his mother could brag about, back home in St. Jude; he'd told his parents that he'd quit teaching in order to pursue a career in writing, and when, more recently, his mother had pressed him for details, he'd mentioned the Warren Street Journal, the name of which his mother had misheard and instantly begun to trumpet to her friends Esther Root and Bea Meisner and Mary Beth Schumpert, and though Chip in his monthly phone calls home had had many opportunities to disabuse her he'd instead actively fostered the misunderstanding; and here things became rather complex, not only because the Wall Street Journal was available in St. Jude and his mother had never mentioned looking for his work and failing to find it (meaning that some part of her knew perfectly well that he didn't write for the paper) but also because the author of articles like "Creative Adultery" and "Let Us Now Praise Scuzzy Motels" was conspiring to preserve, in his mother, precisely the kind of illusion that the Warren Street Journal was dedicated to exploding, and he was thirty-nine years old, and he blamed his parents for the person he had become-he was happy when his mother let the subject drop.

"His tremor's much better," Enid added in a voice inaudible to Alfred. "The only side effect is that he may hallucinate."

"That's quite a side effect," Chip said.

"Dr. Hedgpeth says that what he has is very mild and almost completely controllable with medication."

Alfred was surveying the baggage-claim cavern while pale travelers angled for position at the carousel. There was a confusion of tread patterns on the linoleum, gray with the pollutants that the rain had brought down. The light was the color of car sickness. "New York City!" Alfred said.

Enid frowned at Chip's pants. "Those aren't leather, are they?"

"Yes."

"How do you wash them?"

"They're leather. They're like a second skin."

"We have to be at the pier no later than four o'clock," Enid said.

The carousel coughed up some suitcases.

"Chip, help me," his father said.

Soon Chip was staggering out into the wind-blown rain with all four of his parents' bags. Alfred shuffled forward with the jerking momentum of a man who knew there would be trouble if he had to stop and start again. Enid lagged behind, intent on the pain in her hip. She'd put on weight and maybe lost a little height since Chip had last seen her. She'd always been a pretty woman, but to Chip she was so much a personality and so little anything else that even staring straight at her he had no idea what she really looked like.

"What's that-wrought iron?" Alfred asked him as the taxi line crept forward.

"Yes," Chip said, touching his ear.

"Looks like an old quarter-inch rivet."

"Yes."

"What do you do-crimp that? Hammer it?"

"It's hammered," Chip said.

Alfred winced and gave a low, inhaling whistle.

"We're doing a Luxury Fall Color Cruise," Enid said when the three of them were in a yellow cab, speeding through Queens. "We sail up to Quebec and then we enjoy the changing leaves all the way back down. Dad so enjoyed the last cruise we were on. Didn't you, Al? Didn't you have a good time on that cruise?"

The brick palisades of the East River waterfront were taking an angry beating from the rain. Chip could have wished for a sunny day, a clear view of landmarks and blue water, with nothing to hide. The only colors on the road this morning were the smeared reds of brake lights.

"This is one of the great cities of the world," Alfred said with emotion.

"How are you feeling these days, Dad," Chip managed to ask.

"Any better I'd be in heaven, any worse I'd be in hell."

"We're excited about your new job," Enid said.

"One of the great papers in the country," Alfred said. "The Wall Street Journal."

"Does anybody smell fish, though?"

"We're near the ocean," Chip said.

"No, it's you." Enid leaned and buried her face in Chip's leather sleeve. "Your jacket smells strongly of fish."

He wrenched free of her. "Mother. Please."

Chip's problem was a loss of confidence. Gone were the days when he could afford to epater les bourgeois. Except for his Manhattan apartment and his handsome girlfriend, Julia Vrais, he now had almost nothing to persuade himself that he was a functioning male adult, no accomplishments to compare with those of his brother, Gary, who was a banker and a father of three, or of his sister, Denise, who at the age of thirty-two was the executive chef at a successful new high-end restaurant in Philadelphia. Chip had hoped he might have sold his screenplay by now, but he hadn't finished a draft until after midnight on Tuesday, and then he'd had to work three fourteen-hour shifts at Bragg Knuter & Speigh to raise cash to pay his August rent and reassure the owner of his apartment (Chip had a sublease) about his September and October rent, and then there was a lunch to be shopped for and an apartment to be cleaned and, finally, sometime before dawn this morning, a long-hoarded Xanax to be swallowed. Meanwhile, nearly a week had gone by without his seeing Julia or speaking to her directly. In response to the many nervous messages he'd left on her voice mail in the last forty-eight hours, asking her to meet him and his parents and Denise at his apartment at noon on Saturday and also, please, if possible, not to mention to his parents that she was married to someone else, Julia had maintained a total phone and e-mail silence from which even a more stable man than Chip might have drawn disturbing conclusions.

It was raining so hard in Manhattan that water was streaming down facades and frothing at the mouths of sewers. Outside his building, on East Ninth Street, Chip took money from Enid and handed it through the cab's partition, and even as the turbaned driver thanked him he realized the tip was too small. From his own wallet he took two singles and dangled them near the driver's shoulder.

"That's enough, that's enough," Enid squeaked, reaching for Chip's wrist. "He already said thank you."

But the money was gone. Alfred was trying to open the door by pulling on the window crank. "Here, Dad, it's this one," Chip said and leaned across him to pop the door.

"How big a tip was that?" Enid asked Chip on the sidewalk, under his building's marquee, as the driver heaved luggage from the trunk.

"About fifteen percent," Chip said.

"More like twenty, I'd say," Enid said.

"Let's have a fight about this, why don't we."

"Twenty percent's too much, Chip," Alfred pronounced in a booming voice. "It's not reasonable."

"You all have a good day now," the taxi driver said with no apparent irony.

"A tip is for service and comportment," Enid said. "If the service and comportment are especially good I might give fifteen percent. But if you automatically tip-"

"I've suffered from depression all my life," Alfred said, or seemed to say.

"Excuse me?" Chip said.

"Depression years changed me. They changed the meaning of a dollar."

"An economic depression, we're talking about."

"Then when the service really is especially good or especially bad," Enid pursued, "there's no way to express it monetarily."

"A dollar is still a lot of money," Alfred said.

"Fifteen percent if the service is exceptional, really exceptional."

"I'm wondering why we're having this particular conversation," Chip said to his mother. "Why this conversation and not some other conversation."

"We're both terribly anxious," Enid replied, "to see where you work."

Chip's doorman, Zoroaster, hurried out to help with the luggage and installed the Lamberts in the building's balky elevator. Enid said, "I ran into your old friend Dean Driblett at the bank the other day. I never run into Dean but where he doesn't ask about you. He was impressed with your new writing job."

"Dean Driblett was a classmate, not a friend," Chip said.

"He and his wife just had their fourth child. I told you, didn't I, they built that enormous house out in Paradise Valley-Al, didn't you count eight bedrooms?"

Alfred gave her a steady, unblinking look. Chip leaned on the Door Close button.

"Dad and I were at the housewarming in June," Enid said. "It was spectacular. They'd had it catered, and they had pyramids of shrimp. It was solid shrimp, in pyramids. I've never seen anything like it."

"Pyramids of shrimp," Chip said. The elevator door had finally closed.

"Anyway, it's a beautiful house," Enid said. "There are at least six bedrooms, and you know, it looks like they're going to fill them. Dean's tremendously successful. He started that lawn care business when he decided the mortuary business wasn't for him, well, you know, Dale Driblett's his stepdad, you know, the Driblett Chapel, and now his billboards are everywhere and he's started an HMO. I saw in the paper where it's the fastest-growing HMO in St. Jude, it's called DeeDeeCare, same as the lawn care business, and there are billboards for the HMO now, too. He's quite the entrepreneur, I'd say."

"Slo-o-o-o-w elevator," Alfred said.

"This is a prewar building," Chip explained in a tight voice. "An extremely desirable building."

"But you know what he told me he's doing for his mother's birthday? It's still a surprise for her, but I can tell you. He's taking her to Paris for eight days. Two first-class tickets, eight nights at the Ritz! That's the kind of person Dean is, very family-oriented. But can you believe that kind of birthday present? Al, didn't you say the house alone probably cost a million dollars? Al?"

"It's a large house but cheaply done," Alfred said with sudden vigor. "The walls are like paper."

"All the new houses are like that," Enid said.

"You asked me if I was impressed with the house. I thought it was ostentatious. I thought the shrimp was ostentatious. It was poor."

"It may have been frozen," Enid said.

"People are easily impressed with things like that," Alfred said. "They'll talk for months about the pyramids of shrimp. Well, see for yourself," he said to Chip, as to a neutral bystander. "Your mother's still talking about it."

For a moment it seemed to Chip that his father had become a likable old stranger; but he knew Alfred, underneath, to be a shouter and a punisher. The last time Chip had visited his parents in St. Jude, four years earlier, he'd taken along his then-girlfriend Ruthie, a peroxided young Marxist from the North of England, who, after committing numberless offenses against Enid's sensibilities (she lit a cigarette indoors, laughed out loud at Enid's favorite watercolors of Buckingham Palace, came to dinner without a bra, and failed to take even one bite of the "salad" of water chestnuts and green peas and cheddar-cheese cubes in a thick mayonnaise sauce which Enid made for festive occasions), had needled and baited Alfred until he pronounced that "the blacks" would be the ruination of this country, "the blacks" were incapable of coexisting with whites, they expected the government to take care of them, they didn't know the meaning of hard work, what they lacked above all was discipline, it was going to end with slaughter in the streets, with slaughter in the streets, and he didn't give a damn what Ruthie thought of him, she was a visitor in his house and his country, and she had no right to criticize things she didn't understand; whereupon Chip, who'd already warned Ruthie that his parents were the squarest people in America, had smiled at her as if to say, You see? Exactly as advertised. When Ruthie had dumped him, not three weeks later, she'd remarked that he was more like his father than he seemed to realize.

"Al," Enid said as the elevator lurched to a halt, "you have to admit that it was a very, very nice party, and that it was very nice of Dean to invite us."

Alfred seemed not to have heard her.

Propped outside Chip's apartment was a clear-plastic umbrella that Chip recognized, with relief, as Julia Vrais's. He was herding the parental luggage from the elevator when his apartment door swung open and Julia herself stepped out. "Oh. Oh!" she said, as though flustered. "You're early!"

By Chip's watch it was 11: 35. Julia was wearing a shapeless lavender raincoat and holding a DreamWorks tote bag. Her hair, which was long and the color of dark chocolate, was big with humidity and rain. In the tone of a person being friendly to large animals she said "Hi" to Alfred and "Hi," separately, to Enid. Alfred and Enid bayed their names at her and extended hands to shake, driving her back into the apartment, where Enid began to pepper her with questions in which Chip, as he followed with the luggage, could hear subtexts and agendas.

"Do you live in the city?" Enid said. (You're not cohabiting with our son, are you?) "And you work in the city, too?" (You are gainfully employed? You're not from an alien, snobbish, moneyed eastern family?) "Did you grow up here?" (Or do you come from a trans-Appalachian state where people are warmhearted and down-to-earth and unlikely to be Jewish?) "Oh, and do you still have family in Ohio?" (Have your parents perhaps taken the morally dubious modern step of getting divorced?) "Do you have brothers or sisters?" (Are you a spoiled only child or a Catholic with a zillion siblings?)

Julia having passed this initial examination, Enid turned her attention to the apartment. Chip, in a late crisis of confidence, had tried to make it presentable. He'd bought a stain-removal kit and lifted the big semen stain off the red chaise longue, dismantled the wall of wine-bottle corks with which he'd been bricking in the niche above his fireplace at a rate of half a dozen Merlots and Pinot Grigios a week, taken down from his bathroom wall the close-up photographs of male and female genitalia that were the flower of his art collection, and replaced them with the three diplomas that Enid had long ago insisted on having framed for him.

This morning, feeling as if he'd surrendered too much of himself, he'd readjusted his presentation by wearing leather to the airport.

"This room is about the size of Dean Driblett's bathroom," Enid said. "Wouldn't you say, Al?"

Alfred rotated his bobbing hands and examined their dorsal sides.

"I'd never seen such an enormous bathroom."

"Enid, you have no tact," Alfred said.

It might have occurred to Chip that this, too, was a tactless remark, since it implied that his father concurred in his mother's criticism of the apartment and objected only to her airing of it. But Chip was unable to focus on anything but the hair dryer protruding from Julia's DreamWorks tote bag. It was the hair dryer that she kept in his bathroom. She seemed, actually, to be heading out the door.

"Dean and Trish have a whirlpool and a shower stall and a tub, all separate," Enid went on. "The sinks are his-and-hers."

"Chip, I'm sorry," Julia said.

He raised a hand to put her on hold. "We're going to have lunch here as soon as Denise comes," he announced to his parents. "It's a very simple lunch. Just make yourselves at home."

"It was nice to meet you both," Julia called to Enid and Alfred. To Chip in a lower voice she said, "Denise will be here. You'll be fine."

She opened the door.

"Mom, Dad," Chip said, "just one second."

He followed Julia out of the apartment and let the door fall shut behind him.

"This is really unfortunate timing," he said. "Just really, really unfortunate."

Julia shook her hair back off her temples. "I'm feeling good about the fact that it's the first time in my life I've ever acted self-interestedly in a relationship."

"That's nice. That's a big step." Chip made an effort to smile. "But what about the script? Is Eden reading it?"

"I think maybe this weekend sometime."

"What about you?"

"I read, um." Julia looked away. "Most of it."

"My idea," Chip said, "was to have this `hump' that the moviegoer has to get over. Putting something offputting at the beginning, it's a classic modernist strategy. There's a lot of rich suspense toward the end."

Julia turned toward the elevator and didn't reply.

"Did you get to the end yet?" Chip asked.

"Oh, Chip," she burst out miserably, "your script starts off with a six-page lecture about anxieties of the phallus in Tudor drama!"

He was aware of this. Indeed, for weeks now, he'd been awakening most nights before dawn, his stomach churning and his teeth clenched, and had wrestled with the nightmarish certainty that a long academic monologue on Tudor drama had no place in Act I of a commercial script. Often it took him hours-took getting out of bed, pacing around, drinking Merlot or Pinot Grigio-to regain his conviction that a theory-driven opening monologue was not only not a mistake but the script's most powerful selling point; and now, with a single glance at Julia, he could see that he was wrong.

Nodding in heartfelt agreement with her criticism, he opened the door of his apartment and called to his parents, "One second, Mom, Dad. Just one second." As he shut the door again, however, the old arguments came back to him. "You see, though," he said, "the entire story is prefigured in that monologue. Every single theme is there in capsule form-gender, power, identity, authenticity-and the thing is. . . Wait. Wait. Julia?"

Bowing her head sheepishly, as though she'd somehow hoped he wouldn't notice she was leaving, Julia turned away from the elevator and back toward him.

"The thing is," he said, "the girl is sitting in the front row of the classroom listening to the lecture. It's a crucial image. The fact that he is controlling the discourse-"

"And it's a little creepy, though," Julia said, "the way you keep talking about her breasts."

This, too, was true. That it was true, however, seemed unfair and cruel to Chip, who would never have had the heart to write the script at all without the lure of imagining the breasts of his young female lead. "You're probably right," he said. "Although some of the physicality there is intentional. Because that's the irony, see, that she's attracted to his mind while he's attracted to her-"

"But for a woman reading it," Julia said obstinately, "it's sort of like the poultry department. Breast, breast, breast, thigh, leg."

"I can remove some of those references," Chip said in a low voice. "I can also shorten the opening lecture. The thing is, though, I want there to be a `hump'-"

"Right, for the moviegoer to get over. That's a neat idea."

"Please come and have lunch. Please. Julia?"

The elevator door had opened at her touch.

"I'm saying it's a tiny bit insulting to a person somehow."

"But that's not you. It's not even based on you."

"Oh, great. It's somebody else's breasts."

"Jesus. Please. One second." Chip turned back to his apartment door and opened it, and this time he was startled to find himself face to face with his father. Alfred's big hands were shaking violently.

"Dad, hi, just another minute here."

"Chip," Alfred said, "osk her to stay! Tell her we want her to stay!"

Chip nodded and closed the door in the old man's face; but in the few seconds his back had been turned the elevator had swallowed Julia. He punched the call button, to no avail, and then opened the fire door and ran down the spiral of the service stairwell. After a series of effulgent lectures celebrating the unfettered pursuit of pleasure as a strategy of subverting the bureaucracy of rationalism, BILL QUAINTENCE, an attractive young professor of Textual Artifacts, is seduced by his beautiful and adoring student MONA. Their wildly erotic affair has hardly begun, however, when they are discovered by Bill's estranged wife, HILLAIRE. In a tense confrontation representing the clash of Therapeutic and Transgressive worldviews, Bill and Hillaire struggle for the soul of young Mona, who lies naked between them on tangled sheets. Hillaire succeeds in seducing Mona with her crypto-repressive rhetoric, and Mona publicly denounces Bill. Bill loses his job but soon discovers e-mail records proving that Hillaire has given Mona money to ruin his career. As Bill is driving to see his lawyer with a diskette containing the incriminating evidence, his car is run off the road into the raging D-- River, and the diskette floats free of the sunken car and is borne by ceaseless, indomitable currents into the raging, erotic/chaotic open sea, and the crash is ruled vehicular suicide, and in the film's final scenes Hillaire is hired to replace Bill on the faculty and is seen lecturing on the evils of unfettered pleasure to a classroom in which is seated her diabolical lesbian lover Mona: This was the one-page precis that Chip had assembled with the aid of store-bought screenwriting manuals and had faxed, one winter morning, to a Manhattan-based film producer named Eden Procuro. Five minutes later he'd answered his phone to the cool, blank voice of a young woman saying, "Please hold for Eden Procuro," followed by Eden Procuro herself crying, "I love it, love it, love it, love it, love it!" But now a year and a half had passed. Now the one-page precis had become a 124-page script called "The Academy Purple," and now Julia Vrais, the chocolate-haired owner of that cool, blank personal-assistant's voice, was running away from him, and as he raced downstairs to intercept her, planting his feet sideways to take the steps three and four at a time, grabbing the newel at each landing and reversing his trajectory with a jerk, all he could see or think of was a damning entry in his nearly photographic mental concordance of those 124 pages:

3: bee-stung lips, high round breasts, narrow hips and 3: over the cashmere sweater that snugly hugs her breasts 4: forward raptly, her perfect adolescent breasts eagerly 8: (eyeing her breasts)

9: (eyeing her breasts)

9: (his eyes drawn helplessly to her perfect breasts)

11: (eyeing her breasts)

12: (mentally fondling her perfect breasts)

13: (eyeing her breasts)

15: (eyeing and eyeing her perfect adolescent breasts)

23: (clinch, her perfect breasts surging against his 24: the repressive bra to unfetter her subversive breasts.)

28: to pinkly tongue one sweat-sheened breast.)

29: phallically jutting nipple of her sweat-drenched breast 29: I like your breasts.

30: absolutely adore your honeyed, heavy breasts.

33: (HILLAIRE's breasts, like twin Gestapo bullets, can be 36: barbed glare as if to puncture and deflate her breasts 44: Arcadian breasts with stern puritanical terry cloth and 45: cowering, ashamed, the towel clutched to her breasts.)

76: her guileless breasts shrouded now in militaristic 83: I miss your body, I miss your perfect breasts, I

117: drowned headlights fading like two milk-white breasts And there were probably even more! More than he could remember! And the only two readers who mattered now were women! It seemed to Chip that Julia was leaving him because "The Academy Purple" had too many breast references and a draggy opening, and that if he could correct these few obvious problems, both on Julia's copy of the script and, more important, on the copy he'd specially laser-printed on 24-pound ivory bond paper for Eden Procuro, there might be hope not only for his finances but also for his chances of ever again unfettering and fondling Julia's own guileless, milk-white breasts. Which by this point in the day, as by late morning of almost every day in recent months, was one of the last activities on earth in which he could still reasonably expect to take solace for his failures.

Exiting the stairwell into the lobby, he found the elevator waiting to torment its next rider. Through the open street door he saw a taxi extinguish its roof light and pull away. Zoroaster was mopping up inblown water from the lobby's checkerboard marble. "Goodbye, Mister Chip!" he quipped, by no means for the first time, as Chip ran outside.

Big raindrops beating on the sidewalk raised a fresh, cold mist of pure humidity. Through the bead-curtain of water coming off the marquee, Chip saw Julia's cab brake for a yellow light. Directly across the street, another cab had stopped to discharge a passenger, and it occurred to Chip that he could take this other cab and ask the driver to follow Julia. The idea was tempting; but there were difficulties.

One difficulty was that by chasing Julia he would arguably be committing the worst of the offenses for which the general counsel of D-- College, in a shrill, moralistic lawyer's letter, had once upon a time threatened to countersue him or have him prosecuted. The alleged offenses had included fraud, breach of contract, kidnap, Title IX sexual harassment, serving liquor to a student under the legal drinking age, and possession and sale of a controlled substance; but it was the accusation of stalking-of making "obscene" and "threatening" and "obusive" telephone calls and trespassing with intent to violate a young woman's privacy-that had really scared Chip and scared him still.

A more immediate difficulty was that he had four dollars in his wallet, less than ten dollars in his checking account, no credit to speak of on any of his major credit cards, and no prospect of further proofreading work until Monday afternoon. Considering that the last time he'd seen Julia, six days ago, she'd specifically complained that he "olways" wanted to stay home and eat pasta and "olways" be kissing her and having sex (she'd said that sometimes she almost felt like he used sex as a kind of medication, and that maybe the reason he didn't just go ahead and self-medicate with crack or heroin instead was that sex was free and he was turning into such a cheapskate; she'd said that now that she was taking an actual prescription medication herself she sometimes felt like she was taking it for both of them and that this seemed doubly unfair, because she was the one who paid for the medication and because the medication made her slightly less interested in sex than she used to be; she'd said that, if it were up to Chip, they probably wouldn't even go to movies anymore but would spend the whole weekend wallowing in bed with the shades down and then reheating pasta), he suspected that the minimum price of further conversation with her would be an overpriced lunch of mesquite-grilled autumn vegetables and a bottle of Sancerre for which he had no conceivable way of paying.

And so he stood and did nothing as the corner traffic light turned green and Julia's cab drove out of sight. Rain was lashing the pavement in white, infected-looking drops. Across the street, a long-legged woman in tight jeans and excellent black boots had climbed out of the other cab.

That this woman was Chip's little sister, Denise-i.e. was the only attractive young woman on the planet whom he was neither permitted nor inclined to feast his eyes on and imagine having sex with-seemed to him just the latest unfairness in a long morning of unfairnesses.

Denise was carrying a black umbrella, a cone of flowers, and a pastry box tied with twine. She picked her way through the pools and rapids on the pavement and joined Chip beneath the marquee.

"Listen," Chip said with a nervous smile, not looking at her. "I need to ask you a big favor. I need you to hold the fort for me here while I find Eden and get my script back. There's a major, quick set of corrections I have to make."

As if he were a caddie or a servant, Denise handed him her umbrella and brushed water and grit from the ankles of her jeans. Denise had her mother's dark hair and pale complexion and her father's intimidating air of moral authority. She was the one who'd instructed Chip to invite his parents to stop and have lunch in New York today. She'd sounded like the World Bank dictating terms to a Latin debtor state, because, unfortunately, Chip owed her some money. He owed her whatever ten thousand and fifty-five hundred and four thousand and a thousand dollars added up to.

"See," he explained, "Eden wants to read the script this afternoon sometime, and financially, obviously, it's critical that we-"

"You can't leave now," Denise said.

"It'll take me an hour," Chip said. "An hour and a half at most."

"Is Julia here?"

"No, she left. She said hello and left."

"You broke up?"

"I don't know. She's gotten herself medicated and I don't even trust-"

"Wait a minute. Wait a minute. Are you wanting to go to Eden's, or chasing Julia?"

Chip touched the rivet in his left ear. "Ninety percent going to Eden's."

"Oh, Chip."

"No, but listen," he said, "she's using the word `health' like it has some kind of absolute timeless meaning."

"This is Julia?"

"She takes pills for three months, the pills make her unbelievably obtuse, and the obtuseness then defines itself as mental health! It's like blindness defining itself as vision. `Now that I'm blind, I can see there's nothing to see.' "

Denise sighed and let her cone of flowers droop to the sidewalk. "What are you saying? You want to follow her and take away her medicine?"

"I'm saying the structure of the entire culture is flawed," Chip said. "I'm saying the bureaucracy has arrogated the right to define certain states of mind as `diseased.' A lack of desire to spend money becomes a symptom of disease that requires expensive medication. Which medication then destroys the libido, in other words destroys the appetite for the one pleasure in life that's free, which means the person has to spend even more money on compensatory pleasures. The very definition of mental `health' is the ability to participate in the consumer economy. When you buy into therapy, you're buying into buying. And I'm saying that I personally am losing the battle with a commercialized, medicalized, totalitarian modernity right this instant."

Denise closed one eye and opened the other very wide. Her open eye was like nearly black balsamic vinegar beading on white china. "If I grant that these are interesting issues," she said, "will you stop talking about them and come upstairs with me?"

Chip shook his head. "There's a poached salmon in the fridge. A creme fraiche with sorrel. A salad with green beans and hazelnuts. You'll see the wine and the baguette and the butter. It's good fresh butter from Vermont."

"Has it occurred to you that Dad is sick?"

"An hour is all it's going to take. Hour and a half at most."

"I said has it occurred to you that Dad is sick?"

Chip had a vision of his father trembling and pleading in the doorway. To block it out, he tried to summon up an image of sex with Julia, with the azure-haired stranger, with Ruthie, with anyone, but all he could picture was a vengeful, Fury-like horde of disembodied breasts.

"The faster I get to Eden's and make those corrections," he said, "the sooner I'll be back. If you really want to help me."

An available cab was coming down the street. He made the mistake of looking at it, and Denise misunderstood him.

"I can't give you any more money," she said.

He recoiled as if she'd spat on him. "Jesus, Denise-"

"I'd like to but I can't."

"I wasn't asking you for money!"

"Because where does it end?"

He turned on his heel and walked into the downpour and marched toward University Place, smiling with rage. He was ankle-deep in a boiling gray sidewalk-shaped lake. He was clutching Denise's umbrella in his fist without opening it, and still it seemed unfair to him, it seemed not his fault, that he was getting drenched.

Until recently, and without ever giving the matter much thought, Chip had believed that it was possible to be successful in America without making lots of money. He'd always been a good student, and from an early age he'd proved unfit for any form of economic activity except buying things (this he could do), and so he'd chosen to pursue a life of the mind.

Since Alfred had once mildly but unforgettably remarked that he didn't see the point of literary theory, and since Enid, in the florid biweekly letters by means of which she saved many dollars on long-distance dialing, had regularly begged Chip to abandon his pursuit of an "impractical" doctorate in the humanities ("I see your old science fair trophies," she wrote, "ond I think of what an able young man like you could be giving back to society as a medical doctor, but then, you see, Dad and I always hoped we'd raised children who thought of others, not just themselves"), Chip had had plenty of incentives to work hard and prove his parents wrong. By getting out of bed much earlier than his grad-school classmates, who slept off their Gauloise hangovers until noon or one o'clock, he'd piled up the prizes and fellowships and grants that were the coin of the academic realm.

For the first fifteen years of his adult life, his only experience with failure had come secondhand. His girlfriend in college and long after, Tori Timmelman, was a feminist theorist who'd become so enraged with the patriarchal system of accreditation and its phallometric yardsticks of achievement that she refused (or was unable) to finish her dissertation. Chip had grown up listening to his father pontificate on the topics of Men's Work and Women's Work and the importance of maintaining the distinction; in a spirit of correction, he stuck with Tori for nearly a decade. He did all of the laundry and most of the cleaning and cooking and cat care in the little apartment that he and Tori shared. He read secondary literature for Tori and helped her outline and reoutline the chapters of her thesis that she was too throttled by rage to write. Not until D-- College had offered him a five-year tenure-track appointment (while Tori, still minus a degree, took a two-year nonrenewable job at an agriculture school in Texas) did he fully exhaust his supply of male guilt and move on.

He arrived at D--, then, as an eligible and well-published thirty-three-year-old to whom the college's provost, Jim Leviton, had all but guaranteed lifelong employment. Within a semester he was sleeping with the young historian Ruthie Hamilton and had teamed up at tennis with Leviton and brought Leviton the faculty doubles championship that had eluded him for twenty years.

D-- College, with an elite reputation and a middling endowment, depended for its survival on students whose parents could pay full tuition. To attract these students, the college had built a $30 million recreation center, three espresso bars, and a pair of hulking "residence halls" that were less like dorms than like vivid premonitions of the hotels in which the students would book rooms for themselves in their well-remunerated futures. There were herds of leather sofas and enough computers to ensure that no prospective matriculant or visiting parent could enter a room and not see at least one available keyboard, not even in the dining hall or field house.

Junior faculty lived in semi-squalor. Chip was lucky to have a two-story unit in a damp cinderblock development on Tilton Ledge Lane, on the western edge of campus. His back patio overlooked a waterway known to college administrators as Kuyper's Creek and to everybody else as Carparts Creek. On the far side of the creek was a marshy automotive boneyard belonging to the Connecticut State Department of Corrections. The college had been suing in state and federal courts for twenty years to preserve this wetland from the "ecodisaster" of drainage and development as a medium-security prison.

Every month or two, for as long as things were good with Ruthie, Chip invited colleagues and neighbors and the occasional precocious student to dinner at Tilton Ledge and surprised them with langoustines, or a rack of lamb, or venison with juniper berries, and retro joke desserts like chocolate fondue. Sometimes late at night, presiding over a table on which empty Californian bottles were clustered like Manhattan high-rises, Chip felt safe enough to laugh at himself, open up a little, and tell embarrassing stories about his midwestern childhood. Like how his father not only had worked long hours at the Midland Pacific Railroad and read aloud to his children and done the yard work and home maintenance and processed a nightly briefcaseful of executive paper but had also found time to operate a serious metallurgical laboratory in the family basement, staying up past midnight to subject strange alloys to electrical and chemical stresses. And how Chip at the age of thirteen had developed a crush on the buttery alkali metals that his father kept immersed in kerosene, on the blushing crystalline cobalt, the buxom heavy mercury, the ground-glass stopcocks and glacial acetic acid, and had put together his own junior lab in the shadow of his dad's. How his new interest in science had delighted Alfred and Enid, and how, with their encouragement, he'd set his young heart on winning a trophy at the regional St. Jude science fair. How, at the St. Jude city library, he'd unearthed a plant-physiology paper both obscure enough and simple enough to be mistaken for the work of a brilliant eighth-grader. How he'd built a controlled plywood environment for growing oats and had photographed the young seedlings meticulously and then ignored them for weeks, and how, by the time he went to weigh the seedlings and determine the effects of gibberellic acid in concert with an unidentified chemical factor, the oats were dried-out blackish slime. How he'd gone ahead anyway and plotted the experiment's "correct" results on graph paper, working backward to fabricate a list of seedling weights with some artful random scatter and then forward to make sure that the fictional data produced the "correct" results. And how, as a first-place winner at the science fair, he'd won a three-foot-tall silver-plated Winged Victory and the admiration of his father. And how, a year later, around the time his father was securing his first of two U. S. patents (despite his many grievances with Alfred, Chip was careful to impress on his dinner guests what a giant, in his own way, the old man was), Chip had pretended to study migratory bird populations in a park near some head shops and a bookstore and the house of a friend with foosball and a pool table. And how in a ravine at this park he'd uncovered a cache of downmarket porn over the weather-swollen pages of which, back home in the basement lab where, unlike his father, he never performed a real experiment or felt the faintest twinge of scientific curiosity, he'd endlessly dry-chafed the head of his erection without ever figuring out that this excruciating perpendicular stroke was actively suppressing orgasm (his dinner guests, many of them steeped in queer theory, took special delight in this detail), and how, as a reward for his mendacity and self-abuse and general laziness, he'd won a second Winged Victory.

In the haze of dinner-party smoke, as he entertained his sympathetic colleagues, Chip felt secure in the knowledge that his parents could not have been more wrong about who he was and what kind of career he was suited to pursue. For two and a half years, until the fiasco of Thanksgiving in St. Jude, he had no troubles at D-- College. But then Ruthie dumped him and a first-year female student rushed in, as it were, to fill the vacuum that Ruthie left behind.

Melissa Paquette was the most gifted student in the intro theory course, Consuming Narratives, that he taught in his third spring at D--. Melissa was a regal, theatrical person whom other students conspicuously avoided sitting close to, in part because they disliked her and in part because she always sat in the first row of desks, right in front of Chip. She was long-necked and broad-shouldered, not exactly beautiful, more like physically splendid. Her hair was very straight and had the cherry-wood color of new motor oil. She wore thrift-store clothes that tended not to flatter her-a man's plaid polyester leisure suit, a paisley trapeze dress, gray Mr. Goodwrench coveralls with the name Randy embroidered on the left front pocket.

Melissa had no patience with people she considered fools. At the second meeting of Consuming Narratives, when an affable dreadlocked boy named Chad (every class at D-- had at least one affable dreadlocked boy in it) took a stab at summarizing the theories of Thorstein "Webern," Melissa began to smirk at Chip complicitly. She rolled her eyes and mouthed the word "Veblen" and clutched her hair. Soon Chip was paying more attention to her distress than to Chad's discourse.

"Chad, sorry," she interrupted finally. "The name is Veblen?"

"Vebern. Veblern. That's what I'm saying."

"No, you were saying Webern. It's Veblen."

"Veblern. OK. Thank you very much, Melissa."

Melissa tossed her hair and faced Chip again, her mission accomplished. She paid no attention to the dirty looks that came her way from Chad's friends and sympathizers. But Chip drifted to a far corner of the classroom to dissociate himself from her, and he encouraged Chad to continue with his summary.

That evening, outside the student cinema in Hillard Wroth Hall, Melissa came pushing and squeezing through a crowd and told Chip that she was loving Walter Benjamin. She stood, he thought, too close to him. She stood too close to him at a reception for Marjorie Garber a few days later. She came galloping across the Lucent Technologies Lawn (formerly the South Lawn) to press into his hands one of the weekly short papers that Consuming Narratives required. She materialized beside him in a parking lot that a foot of snow had buried, and with her mittened hands and considerable wingspan she helped him dig out his car. She kicked a path clear with her fur-trimmed boots. She wouldn't stop chipping at the underlayer of ice on his windshield until he took hold of her wrist and removed the scraper from her hand.

Chip had co-chaired the committee that drafted the college's stringent new policy on faculty-student contacts. Nothing in the policy prevented a student from helping a professor clear snow off his car; and since he was also sure of his self-discipline, he had nothing to be afraid of. And yet, before long, he was ducking out of sight whenever he saw Melissa on campus. He didn't want her to gallop over and stand too close to him. And when he caught himself wondering if the color of her hair was from a bottle, he made himself stop wondering. He never asked her if she was the one who'd left roses outside his office door on Valentine's Day, or the chocolate statuette of Michael Jackson on Easter weekend.

In class he called on Melissa slightly less often than he called on other students; he lavished particular attention on her nemesis, Chad. He sensed, without looking, that Melissa was nodding in comprehension and solidarity when he unpacked a difficult passage of Marcuse or Baudrillard. She generally ignored her classmates, except to turn on them in sudden hot disagreement or cool correction; her classmates, for their part, yawned audibly when she raised her hand.

One warm Friday night near the end of the semester, Chip came home from his weekly grocery run and discovered that someone had vandalized his front door. Three of the four utility lights at Tilton Ledge had burned out, and the college was apparently waiting for the fourth to burn out before investing in replacements. In the poor light, Chip could see that somebody had poked flowers and foliage-tulips, ivy-through the holes in his rotting screen door. "What is this?" he said. "Melissa, you are jailbait."

Possibly he said other things before he realized that his stoop was strewn with torn-up tulips and ivy, a vandalism still in progress, and that he was not alone. The holly bush by his door had produced two giggling young people. "Sorry, sorry!" Melissa said. "You were talking to yourself!"

Chip wanted to believe she hadn't heard what he said, but the holly wasn't three feet away. He set the groceries inside his house and turned a light on. Standing beside Melissa was the dreadlocked Chad.

"Professor Lambert, hello," Chad said earnestly. He was wearing Melissa's Mr. Goodwrench coveralls, and Melissa was wearing a Free Mumia T-shirt that might have belonged to Chad. She'd slung an arm around Chad's neck and fitted a hip over his. She was flushed and sweaty and lit up on something.

"We were decorating your door," she said.

"Actually, Melissa, it looks pretty horrible," Chad said as he examined it in the light. Beat-up tulips were hanging down at every angle. The ivy runners had clods of dirt in their hairy feet. "Kind of a stretch to say `decorating.' "

"Well, you can't see down here," she said. "Where's the light?"

"There is no light," Chip said. "This is the Ghetto in the Woods. This is where your teachers live."

"Dude, that ivy is pathetic."

"Whose tulips are these?" Chip asked.

"College tulips," Melissa said.

"Dude, I'm not even sure why we were doing this." Chad turned to allow Melissa to put her mouth on his nose and suck it, which didn't seem to bother him, although he drew his head back. "Wouldn't you say this was sort of more your idea than mine?"

"Our tuition pays for these tulips," Melissa said, pivoting to press her body more frontally into Chad. She hadn't looked at Chip since he turned the outdoor light on.

"So then Hansel and Gretel came and found my screen door."

"We'll clean it up," Chad said.

"Leave it," Chip said. "I'll see you on Tuesday." And he went inside and shut the door and played some angry music from his college years.

For the last meeting of Consuming Narratives the weather turned hot. The sun was blazing in a pollen-filled sky, all the angiosperms in the newly rechristened Viacom Arboretum blooming hard. To Chip the air felt disagreeably intimate, like a warm spot in a swimming pool. He'd already cued up the video player and lowered the classroom shades when Melissa and Chad strolled in and took seats in a rear corner. Chip reminded the class to sit up straight like active critics rather than be passive consumers, and the students sat up enough to acknowledge his request without actually complying with it. Melissa, usually the one fully upright critic, today slumped especially low and draped an arm across Chad's legs.

To test his students' mastery of the critical perspectives to which he'd introduced them, Chip was showing a video of a six-part ad campaign called "You Go, Girl." The campaign was the work of an agency, Beat Psychology, that had also created "Howl with Rage" for G-- Electric, "Do Me Dirty" for C-- Jeans, "Total F***ing Anarchy!" for the W-- Network, "Radical Psychedelic Underground" for E--.com, and "Love & Work" for M-- Pharmaceuticals. "You Go, Girl" had had its first airing the previous fall, one episode per week, on a prime-time hospital drama. The style was black-and-white cinema verite; the content, according to analyses in the Times and the Wall Street Journal, was "revolutionary."

The plot was this: Four women in a small office-one sweet young African American, one middle-aged technophobic blonde, one tough and savvy beauty named Chelsea, and one radiantly benignant gray-haired Boss-dish together and banter together and, by and by, struggle together with Chelsea's stunning announcement, at the end of Episode 2, that for nearly a year she's had a lump in her breast that she's too scared to see a doctor about. In Episode 3 the Boss and the sweet young African American dazzle the technophobic blonde by using the W-- Corporation's Global Desktop Version 5.0 to get up-to-the-minute cancer information and to hook Chelsea into support networks and the very best local health care providers. The blonde, who is fast learning to love technology, marvels but objects: "There's no way Chelsea can afford all this." To which the angelic Boss replies: "I'm paying every cent of it." By the middle of Episode 5, however-and this was the campaign's revolutionary inspiration-it's clear that Chelsea will not survive her breast cancer. Tear-jerking scenes of brave jokes and tight hugs follow. In the final episode the action returns to the office, where the Boss is scanning a snapshot of the departed Chelsea, and the now rabidly technophiliac blonde is expertly utilizing the W-- Corporation's Global Desktop Version 5.0, and around the world, in rapid montage, women of all ages and races are smiling and dabbing away tears at the image of Chelsea on their own Global Desktops. Spectral Chelsea in a digital video clip pleads: "Help us Fight for the Cure." The episode ends with the information, offered in a sober typeface, that the W-- Corporation has given more than $10,000,000.00 to the American Cancer Society to help it Fight for the Cure. . .

The slick production values of a campaign like "You Go, Girl" could seduce first-year students before they'd acquired the critical tools of resistance and analysis. Chip was curious, and somewhat afraid, to see how far his students had progressed. With the exception of Melissa, whose papers were written with force and clarity, none of them had persuaded him that they were doing more than parroting the weekly jargon. Each year, it seemed, the incoming freshmen were a little more resistant to hardcore theory than they'd been the year before. Each year the moment of enlightenment, of critical mass, came a little later. Now the end of a semester was at hand, and Chip still wasn't sure that anyone besides Melissa really got how to criticize mass culture.

The weather wasn't doing him any favors. He raised the shades and beach light poured into the classroom. Summerlust came wafting off the bared arms and legs of boys and girls alike.

A petite young woman named Hilton, a chihuahua-like person, offered that it was "brave" and "really interesting" that Chelsea had died of cancer instead of surviving like you might have expected in a commercial.

Chip waited for someone to observe that it was precisely this self-consciously "revolutionary" plot twist that had generated publicity for the ad. Normally Melissa, from her seat in the front row, could be counted on to make a point like this. But today she was sitting by Chad with her cheek on her desk. Normally, when students napped in class, Chip called on them immediately. But today he was reluctant to say Melissa's name. He was afraid that his voice might shake.

Finally, with a tight smile, he said, "In case any of you were visiting a different planet last fall, let's review what happened with these ads. Remember that Nielsen Media Research took the `revolutionary' step of giving Episode Six its own weekly rating. The first rating ever given to an ad. And once Nielsen rated it, the campaign was all but guaranteed an enormous audience for its rebroadcast during the November sweeps. Also remember that the Nielsen rating followed a week of print and broadcast news coverage of the `revolutionary' plot twist of Chelsea's death, plus the Internet rumor about Chelsea's being a real person who'd really died. Which, incredibly, several hundred thousand people actually believed. Beat Psychology, remember, having fabricated her medical records and her personal history and posted them on the Web. So my question for Hilton would be, how `brave' is it to engineer a surefire publicity coup for your ad campaign?"

"It was still a risk," Hilton said. "I mean, death is a downer. It could have backfired."

Again Chip waited for someone, anyone, to take his side of the argument. No one did. "So a wholly cynical strategy," he said, "if there's a financial risk attached, becomes an act of artistic bravery?"

A brigade of college lawn mowers descended on the lawn outside the classroom, smothering discussion in a blanket of noise. The sunshine was bright.

Chip soldiered on. Did it seem realistic that a small-business owner would spend her own money on special health care options for an employee?

One student averred that the boss she'd had at her last summer job had been generous and totally great.

Chad was silently fighting off the tickling hand of Melissa while, with his free hand, he counterattacked the naked skin of her midriff.

"Chad?" Chip said.

Chad, impressively, was able to answer the question without having it repeated. "Like, that was just one office," he said. "Maybe another boss wouldn't have been so great. But that boss was great. I mean, nobody's pretending that's an average office, right?"

Here Chip tried to raise the question of art's responsibilities vis- -vis the Typical; but this discussion, too, was DOA.

"So, bottom line," he said, "we like this campaign. We think these ads are good for the culture and good for the country. Yes?"

There were shrugs and nods in the sun-heated room.

"Melissa," Chip said. "We haven't heard from you."

Melissa raised her head from her desk, shifted her attention from Chad, and looked at Chip with narrowed eyes. "Yes," she said.

"Yes what?"

"Yes, these ads are good for the culture and good for the country."

Chip took a deep breath, because this hurt. "Great, OK," he said. "Thank you for your opinion."

"As if you care about my opinion," Melissa said.

"I beg your pardon?"

"As if you care about any of our opinions unless they're the same as yours."

"This is not about opinions," Chip said. "This is about learning to apply critical methods to textual artifacts. Which is what I'm here to teach you."

"I don't think it is, though," Melissa said. "I think you're here to teach us to hate the same things you hate. I mean, you hate these ads, right? I can hear it in every word you say. You totally hate them."

The other students were listening raptly now. Melissa's connection with Chad might have depressed Chad's stock more than it had raised her own, but she was attacking Chip like an angry equal, not a student, and the class ate it up.

"I do hate these ads," Chip admitted. "But that's not-"

"Yes it is," Melissa said.

"Why do you hate them?" Chad called out.

"Tell us why you hate them," the little Hilton yipped.

Chip looked at the wall clock. There were six minutes left of the semester. He pushed a hand through his hair and cast his eyes around the room as if he might find an ally somewhere, but the students had him on the run now, and they knew it.

"The W-- Corporation," he said, "is currently defending three separate lawsuits for antitrust violations. Its revenues last year exceeded the gross domestic product of Italy. And now, to wring dollars out of the one demographic that it doesn't yet dominate, it's running a campaign that exploits a woman's fear of breast cancer and her sympathy with its victims. Yes, Melissa?"

"It's not cynical."

"What is it, if not cynical?"

"It's celebrating women in the workplace," Melissa said. "It's raising money for cancer research. It's encouraging us to do our self-examinations and get the help we need. It's helping women feel like we own this technology, like it's not just a guy thing."

"OK, good," Chip said. "But the question is not whether we care about breast cancer, it's what breast cancer has to do with selling office equipment."

Chad took up the cudgels for Melissa. "That's the whole point of the ad, though. That if you have access to information, it can save your life."

"So if Pizza Hut puts a little sign about testicular self-exams by the hot-pepper flakes, it can advertise itself as part of the glorious and courageous fight against cancer?"

"Why not?" Chad said.

"Does anybody see anything wrong with that?"

Not one student did. Melissa was slouching with her arms crossed and unhappy amusement on her face. Unfairly or not, Chip felt as if she'd destroyed in five minutes a semester's worth of careful teaching.

"Well, consider," he said, "that `You Go, Girl' would not have been produced if W-- had not had a product to sell. And consider that the goal of the people who work at W-- is to exercise their stock options and retire at thirty-two, and that the goal of the people who own W-- stock" (Chip's brother and sister-in-law, Gary and Caroline, owned a great deal of W-- stock) "is to build bigger houses and buy bigger SUVs and consume even more of the world's finite resources."

"What's wrong with making a living?" Melissa said. "Why is it inherently evil to make money?"

"Baudrillard might argue," Chip said, "that the evil of a campaign like `You Go, Girl' consists in the detachment of the signifier from the signified. That a woman weeping no longer just signifies sadness. It now also signifies: `Desire office equipment.' It signifies: `Our bosses care about us deeply.' "

The wall clock showed two-thirty. Chip paused and waited for the bell to ring and the semester to end.

"Excuse me," Melissa said, "but that is just such bullshit."

"What is bullshit?" Chip said.

"This whole class," she said. "It's just bullshit every week. It's one critic after another wringing their hands about the state of criticism. Nobody can ever quite say what's wrong exactly. But they all know it's evil. They all know `corporate' is a dirty word. And if somebody's having fun or getting rich-disgusting! Evil! And it's always the death of this and the death of that. And people who think they're free aren't `really' free. And people who think they're happy aren't `really' happy. And it's impossible to radically critique society anymore, although what's so radically wrong with society that we need such a radical critique, nobody can say exactly. It is so typical and perfect that you hate those ads!" she said to Chip as, throughout Wroth Hall, bells finally rang. "Here things are getting better and better for women and people of color, and gay men and lesbians, more and more integrated and open, and all you can think about is some stupid, lame problem with signifiers and signifieds. Like, the only way you can make something bad out of an ad that's great for women-which you have to do, because there has to be something wrong with everything-is to say it's evil to be rich and evil to work for a corporation, and yes, I know the bell rang." She closed her notebook.

"OK," Chip said. "On that note. You've now satisfied your Cultural Studies core requirement. Have a great summer."

He was powerless to keep the bitterness out of his voice. He bent over the video player and gave his attention to rewinding and re-cuing "You Go, Girl" and touching buttons for the sake of touching buttons. He sensed a few students lingering behind him, as if they wanted to thank him for teaching his heart out or to tell him they'd enjoyed the class, but he didn't look up from the video player until the room was empty. Then he went home to Tilton Ledge and started drinking.

Melissa's accusations had cut him to the quick. He'd never quite realized how seriously he'd taken his father's injunction to do work that was "useful" to society. Criticizing a sick culture, even if the criticism accomplished nothing, had always felt like useful work. But if the supposed sickness wasn't a sickness at all-if the great Materialist Order of technology and consumer appetite and medical science really was improving the lives of the formerly oppressed; if it was only straight white males like Chip who had a problem with this order-then there was no longer even the most abstract utility to his criticism. It was all, in Melissa's word, bullshit.

Lacking the spirit to work on his new book, as he'd planned to do all summer, Chip bought an overpriced ticket to London and hitchhiked to Edinburgh and overstayed his welcome with a Scottish performance artist who had lectured and performed at D-- the previous winter. Eventually the woman's boyfriend said, "Time to be off now, laddie," and Chip hit the road with a backpack full of Heidegger and Wittgenstein that he was too lonely to read. He hated to think of himself as a man who couldn't live without a woman, but he hadn't been laid since Ruthie dumped him. He was the only male professor in D-- history to have taught Theory of Feminism, and he understood how important it was for women not to equate "success" with "having a man" and "failure" with "lacking a man," but he was a lonely straight male, and a lonely straight male had no equivalently forgiving Theory of Masculinism to help him out of this bind, this key to all misogynies:

P To feel as if he couldn't survive without a woman made a man feel weak; P And yet, without a woman in his life, a man lost the sense of agency and difference that, for better or worse, was the foundation of his manhood.

On many a morning, in green Scottish places splashed with rain, Chip felt close to escaping this spurious bind and regaining a sense of self and purpose, only to find himself at four in the afternoon drinking beer at a train station, eating chips and mayonnaise, and hitting on Yankee college girls. As a seducer, he was hampered by ambivalence and by his lack of the Glaswegian accent that made American girls go weak in the knees. He scored exactly once, with a young hippie from Oregon who had ketchup stains on her chemise and a scalpy smell so overpowering that he spent much of the night breathing through his mouth.

His failures seemed more funny than squalid, though, when he came home to Connecticut and regaled his misfit friends with stories at his own expense. He wondered if somehow his Scottish depression had been the product of a greasy diet. His stomach heaved when he remembered the glistening wedges of browned whatever fish, the glaucous arcs of lipidy chips, the smell of scalp and deep-fry, or even just the words "Firth of Forth."

At the weekly farmers' market near D-- he loaded up on heirloom tomatoes, white eggplants, and thin-skinned golden plums. He ate arugula ("rocket," the old farmers called it) so strong it made his eyes water, like a paragraph of Thoreau. As he remembered the Good and the Healthful, he began to recover his self-discipline. He weaned himself off alcohol, got better sleep, drank less coffee, and went to the college gym twice a week. He read the damned Heidegger and did his crunches every morning. Other pieces of the self-improvement puzzle fell into place, and for a while, as cool working weather returned to the Carparts Creek valley, he experienced an almost Thoreauvian well-being. Between sets on the tennis court, Jim Leviton assured him that his tenure review would be a mere formality-that he shouldn't worry about competing with the department's other young theorist, Vendla O'Fallon. Chip's fall course load consisted of Renaissance Poetry and Shakespeare, neither of which required him to rethink his critical perspectives. As he girded himself for the last stage of his ascent of Mount Tenure, he was relieved to be traveling light; almost happy, after all, not to have a woman in his life.

He was at home on a Friday in September, making himself a dinner of broccoli rabe and acorn squash and fresh haddock and looking forward to a night of grading papers, when a pair of legs sashayed past his kitchen window. He knew this sashay. He knew the way Melissa walked. She couldn't pass a picket fence without trailing her fingertips against it. She stopped in hallways to do dance steps or hopscotch. She went backwards or sideways, or skipped, or loped.

Her knock on his screen door was not apologetic. Through the screen he saw that she had a plate of cupcakes with pink frosting.

"Yeah, what's up?" he said.

Melissa raised the plate on upturned palms. "Cupcakes," she said. "Thought you might be needing some cupcakes in your life right around now."

Not being theatrical, Chip felt disadvantaged around people who were. "Why are you bringing me cupcakes?" he said.

Melissa knelt and set the plate on his doormat among the pulverized remains of ivy and dead tulips. "I'll just leave them here," she said, "ond you can do whatever you want with them. Goodbye!" She spread her arms and pirouetted off the doorstep and ran up the flagstone path on tiptoe.

Chip went back to wrestling with the haddock filet, through the center of which ran a blood-brown fault of gristle that he was determined to cut out. But the fish had a starchy grain and was hard to get a grip on. "Fuck you, little girl," he said as he threw the knife into the sink.

The cupcakes were full of butter and frosted with a butter frosting. After he'd washed his hands and opened a bottle of Chardonnay he ate four of them and put the uncooked fish in the refrigerator. The skins of the overbaked squash were like inner-tube rubber. Cent Ans de Cinema Erotique, an edifying video that had sat on a shelf for months without making a peep, suddenly demanded his immediate and full attention. He lowered the blinds and drank the wine, and brought himself off again and again, and ate two more cupcakes, detecting peppermint in them, a faint buttery peppermint, before he slept.

The next morning he was up at seven and did four hundred crunches. He immersed Cent Ans de Cinema Erotique in dishwater and rendered it, so to speak, non-combustible. (He'd done this with many a pack of cigarettes while kicking the habit.) He had no idea what he'd meant when he'd thrown the knife into the sink. His voice had sounded nothing like him.

He went to his office in Wroth Hall and graded papers. He wrote in a margin: Cressida's character may inform Toyota's choice of product name; that Toyota's Cressida informs the Shakespearean text requires more argument than you present here. He added an exclamation point to soften his criticism. Sometimes, when ripping apart especially feeble student work, he drew smiley faces.

Spell-check! he exhorted a student who'd written "Trolius" for "Troilus" throughout her eight-page paper.

And the ever-softening question mark. Beside the sentence "Here Shakespeare proves Foucault all too right about the historicity of morals," Chip wrote: Rephrase? Perhaps: "Here the Shakespearean text seems almost to anticipate Foucault (better: Nietzsche?. . ."?

He was still grading papers five weeks later, ten or fifteen thousand student errors later, on a windy night just after Halloween, when he heard a scrabbling outside his office door. Opening the door, he found a dime-store trick-or-treat bag hanging from the hall-side doorknob. The leaver of this gift, Melissa Paquette, was backpedaling up the hall.

"What are you doing?" he said.

"Just trying to be friends," she said.

"Well, thanks," he said. "I don't get it."

Melissa came back down the hall. She was wearing white painter's overalls, a long-sleeve thermal undershirt, and hot-pink socks. "I went trick-or-treating," she said. "This was like one-fifth of my haul."

She stepped closer to Chip and he backed away. She followed him into his office and circled it on tiptoe, reading titles on his shelves. Chip leaned against his desk and folded his arms tightly.

"So I'm taking Theory of Feminism with Vendla," Melissa said.

"That would be the logical next step. Now that you've rejected the nostalgic patriarchal tradition of critical theory."

"Exactly my thinking," Melissa said. "Unfortunately, her class is so bad. People who took it with you last year said it was great. But Vendla's idea is that we should sit around and talk about our feelings. Because the Old Theory was about the head, see. And therefore the New True Theory has to be about the heart. I'm not convinced she's even read all the stuff she assigns us."

Through his open door Chip could see the door of Vendla O'Fallon's office. It was papered with healthful images and adages-Betty Friedan in 1965, beaming Guatemalan peasant women, a triumphant female soccer star, a Bass Ale poster of Virginia Woolf, SUBVERT THE DOMINANT PARADIGM-that reminded him, in a dreary way, of his old girlfriend Tori Timmelman. His feeling about decorating doors was: What are we, high-school kids? Are these our bedrooms?

"So basically," he said, "even though you thought my class was bullshit, it now seems like a superior brand of bullshit because you're taking hers."

Melissa blushed. "Basically! Except you're a much better teacher. I mean, I learned a ton from you. That's what I wanted to tell you."

"Consider me told."

"See, my mom and dad split up in April." Melissa flung herself down on Chip's college-issue leather sofa and assumed the full therapeutic position. "For a while it was kind of great that you were being so anti-corporate, and then suddenly it really, really irritated me. Like, my parents have a lot of money, and they're not evil people, although my dad did just move in with this character named Vicki who's like four years older than me. But he still loves my mom. I know he does. As soon as I was out of the house, things deteriorated a little, but I know he still loves her."

"The college has a lot of services," Chip said, arms folded, "for students going through these things."

"Thanks. On the whole I'm doing brilliantly, except for having been rude to you in class that time." Melissa hooked her heels on the arm of the sofa, pried her shoes off, and let them drop to the floor. Soft curves in thermal knitwear spilled out to either side of her overalls' bib, Chip noticed.

"I had an excellent childhood," she said. "My parents have always been my best friends. They homeschooled me till seventh grade. My mom was in med school in New Haven and my dad had this punk band, the Nomatics, that was touring, and at my mom's first ever punk show she went out with my dad and ended up in his hotel room. She quit school, he quit the Nomatics, and they were never apart after that. Totally romantic. See, and my dad had some money from a trust fund, and it was really brilliant what they did then. There were all these new IPOs, and my mom was up on all the biotech and reading JAMA, and Tom-my dad-could vet the numbers part of it, and they just made really great investments. Clair-my mom-stayed home with me and we hung out all day, you know, and I learned my times tables, et cetera, and it was always just the three of us. They were so, so in love. And parties every weekend. And finally it occurred to us, we know everybody, and we're really good investors, so why not start a mutual fund? Which we did. And it was incredible. It's still a great fund. It's called the Westportfolio Biofund Forty? We started some other funds, too, when the climate got more competitive. You kind of have to offer a full array of services. That's what the institutional investors were telling Tom, at any rate. So he started these other funds, which unfortunately have pretty much tanked. I think that's the big problem between him and Clair. Because her fund, the Biofund Forty, where she makes the picks, is still doing great. And now she's heartbroken and depressed. She's holed up in our house and she never goes out. Meanwhile Tom wants me to meet this Vicki person, who he says is `lots of fun' and a roller blader. The thing is, we all know my mom and dad are made for each other. They complement each other perfectly. And I just think if you knew how cool it is to start a company, and how great it is when the money starts coming in, and how romantic it can be, you wouldn't be so harsh."

"Possibly," Chip said.

"Anyway, I thought you'd be somebody I could talk to. On the whole I'm coping brilliantly, but I could kind of use a friend."

"How's Chad?" Chip said.

"A sweet boy. Good for about three weekends." Melissa swung a leg off the sofa and planted a stockinged foot on Chip's leg, close to his hip. "It's hard to imagine two people less long-term compatible than him and me."

Through his jeans Chip could feel the deliberate flexing of her toes. He was trapped against his desk, and so, to escape, he had to take hold of her ankle and swing her leg back onto the sofa. Her pink feet immediately grasped his wrist and pulled him toward her. It was all very playful, but his door was open, and his lights were on, and his blinds were raised, and somebody was in the hall. "Code," he said, pulling free. "There's a code."

Melissa rolled off the sofa, stood up, and came closer. "It's a stupid code," she said. "If you care about somebody."

Chip retreated to the doorway. Up the hall, by the department office, a tiny blue-uniformed woman with a Toltec face was vacuuming. "There are good reasons to have it," he said.

"So I can't even give you a hug now."

"That's right."

"It's stupid." Melissa stepped into her shoes and joined Chip in the doorway. She kissed him on the cheek, near his ear. "So there."

He watched her slide-step and pirouette down the hall and out of sight. He heard a fire door bang shut. He carefully examined every word he'd said, and he gave himself an A for correctness. But when he returned to Tilton Ledge, where the last of the utility lights had burned out, he was swamped by loneliness. To erase the tactile memory of Melissa's kiss, and her lively warm feet, he phoned an old college friend in New York and made a date for lunch the next day. He took Cent Ans de Cinema Erotique from the cabinet where, in expectation of a night like this, he'd stashed it after soaking it. The tape was still playable. The image was snowy, though, and during the first really hot bit, a hotel-room scene with a wanton chambermaid, the snow thickened to a blizzard and the screen went blue. The VCR made a dry, thin choking sound. Air, need air, it seemed to say. Tape had leaked out and wound itself around the machine's endoskeleton. Chip extracted the cassette and several handfuls of Mylar, but then something broke and the machine spat up a plastic spool. Which, all right, these things happened. But the trip to Scotland had been a financial Waterloo, and he couldn't afford a new VCR.

Nor was New York City, on a cold rainy Saturday, the treat he needed. Every sidewalk in lower Manhattan was dotted with the metallic squared spirals of antitheft badges. The badges were bonded to the wet pavement with the world's strongest glue, and after Chip had bought some imported cheeses (he did this every time he visited New York to be sure of accomplishing at least one thing before returning to Connecticut, and yet it felt a little sad to buy the same baby Gruyere and Fourme d'Ambert at the same store; it brought him up against the more general failure of consumerism as an approach to human happiness), and after he'd lunched with his college friend (who had recently quit teaching anthropology and hired himself out to Silicon Alley as a "marketing psychologist" and who advised Chip, now, to wake up and do the same), he returned to his car and discovered that each of his plastic-wrapped cheeses was protected by its own antitheft badge and that, indeed, a fragment of antitheft badge had stuck to the bottom of his left shoe.

Tilton Ledge was glazed with ice and very dark. In the mail Chip found an envelope containing a short note from Enid lamenting Alfred's moral failures ("he sits in that chair all day, every day") and a lengthy profile of Denise, clipped from Philadelphia magazine, with a slavering review of her restaurant, Mare Scuro, and a full-page glamour photo of the young chef. Denise in the photo was wearing jeans and a tank top and was all muscled shoulders and satiny pecs ("Very young and very good: Lambert in her kitchen," the caption read), and this was just the kind of girl-as-object horseshit, Chip thought bitterly, that sold magazines. A few years ago Enid's letters had reliably contained a paragraph of despair about Denise and Denise's failing marriage, with phrases like he is too OLD for her! double-underlined, and a paragraph festooned with thrilleds and prouds apropos of Chip's hiring by D-- College, and although he knew that Enid was skilled at playing her children off against each other and that her praise was usually double-edged, he was dismayed that a woman as smart and principled as Denise had used her body for marketing purposes. He threw the clipping in the trash. He opened the Saturday half of the Sunday Times and-yes, he was contradicting himself, yes, he was aware of this-paged through the Magazine in search of ads for lingerie or swimwear to rest his weary eyes on. Finding none, he began to read the Book Review, where a memoir called Daddy's Girl, by Vendla O'Fallon, was declared "ostonishing" and "courageous" and "deeply satisfying" on . The name Vendla O'Fallon was rather unusual, but Chip had been so completely unaware that Vendla was publishing a book that he refused to believe she'd written Daddy's Girl until, near the end of the review, he encountered a sentence that began: "O'Fallon, who teaches at D-- College. . ."

He closed the Book Review and opened a bottle.

In theory both he and Vendla were in line for tenure in Textual Artifacts, but in practice the department was already overtenured. That Vendla commuted to work from New York (thus flouting the college's informal requirement that faculty live in town), and that she skipped important meetings and taught every gut she could, had been steady sources of comfort to Chip. He still had the edge in scholarly publications, student evaluations, and support from Jim Leviton; but he found that two glasses of wine had no effect on him.

He was pouring himself his fourth when his telephone rang. It was Jim Leviton's wife, Jackie. "I just wanted you to know," Jackie said, "that Jim's going to be OK."

"Was something wrong?" Chip said.

"Well, he's resting fine. We're over at St. Mary's."

"What happened?"

"Chip, I asked him if he thought he could play tennis, and do you know what? He nodded! I said I was going to call you, and he nodded, yes, he was good for tennis. His motor skills appear to be fully normal. Fully-normal. And he's lucid, that is the important thing. That is the really good news here, Chip. His eyes are bright. He's the same old Jim."

"Jackie, did he have a stroke?"

"There'll be some rehabilitation," Jackie said. "Obviously today will be his effective retirement date, which, Chip, as far as I'm concerned, is an absolute blessing. We can make some changes now, and in three years-well, it's not going to take any three years for him to rehabilitate. When all is said and done, we're going to be ahead of this game. His eyes are so bright, Chip. He's the same old Jim!"

Chip rested his forehead against his kitchen window and turned his head so that he could open one eye directly against the cold, damp glass. He knew what he was going to do.

"The same old lovable Jim!" Jackie said.

The following Thursday, Chip made dinner for Melissa and had sex with her on his red chaise longue. He'd taken a fancy to the chaise back in the days when dropping eight hundred dollars on an antique-store impulse was somewhat less suicidal financially. The chaise's backrest was angled in erotic invitation, its padded shoulders thrown back, its spine arching; the plush of its chest and belly looked ready to burst the fabric buttons that crisscrossed it. Breaking his initial clinch with Melissa, Chip excused himself for one second to turn off lights in the kitchen and stop in the bathroom. When he returned to the living room, he found her stretched out on the chaise wearing only the pants half of her plaid polyester leisure suit. In the dim light she could have been a hairless, heavy-titted man. Chip, who much preferred queer theory to queer practice, basically hated the suit and wished she hadn't worn it. Even after she'd taken off the pants there was a residue of gender confusion on her body, not to mention the rank b. o. that was the bane of synthetic fabrics. But from her underpants, which to his relief were delicate and sheer-distinctly gendered-an affectionate warm rabbit came springing, a kicking wet autonomous warm animal. It was almost more than he could handle. He hadn't slept two hours in the previous two nights, and he had a head full of wine and a gut full of gas (he couldn't remember why he'd made a cassoulet for dinner; possibly for no good reason), and he worried that he hadn't locked the front door-that there was a gap in the blinds somewhere, that one of his neighbors would drop by and try the door and find it unlocked or peer in through the window and see him flagrantly violating Sections I, II, and VI of a code that he himself had helped draft. Altogether for him it was a night of anxiety and effortful concentration, punctuated by little stabs of throttled pleasure, but at least Melissa seemed to find it exciting and romantic. Hour after hour, she wore a big crinkled U of a smile.

It was Chip's proposal, after a second extremely stressful tryst at Tilton Ledge, that he and Melissa leave campus for the weeklong Thanksgiving break and find a cottage on Cape Cod where they wouldn't feel observed and judged; and it was Melissa's proposal, as they departed through D--' s little-used eastern gate under cover of darkness, that they stop in Middletown and buy drugs from a high-school friend of hers at Wesleyan. Chip waited in front of Wesleyan's impressively weatherproofed Ecology House and drummed on the steering wheel of his Nissan, drummed so hard his fingers throbbed, because it was important not to think about what he was doing. He'd left behind mountains of ungraded papers and exams, and he had not yet managed to visit Jim Leviton in the rehab unit. That Jim had lost his powers of speech and now impotently strained his jaw and lips to form words-that he'd become, according to reports from colleagues who'd visited him, an angry man-made Chip all the more reluctant to visit. He was in the mode now of avoiding anything that might make him experience an emotion. He beat on the steering wheel until his fingers were stiff and burning and Melissa came out of the Ecology House. She brought into the car a smell of woodsmoke and frozen flower beds, the smell of an affair in late autumn. She put into Chip's palm a golden caplet marked with what appeared to be the old Midland Pacific Railroad logo--

without the text. "Take this," she told him, closing the door.

"This is? Some kind of Ecstasy?"

"No. Mexican A."

Chip felt culturally anxious. Not long ago, there had been no drugs he hadn't heard of. "What does it do?"

"Nothing and everything," she said, swallowing one herself. "You'll see."

"How much do I owe you for this?"

"Never mind that."

For a while the drug did seem, as promised, to do nothing. But on the industrial outskirts of Norwich, still two or three hours from the Cape, he turned down the trip hop that Melissa was playing on his stereo and said, "We have to stop immediately and fuck."

She laughed. "I guess so."

"Why don't I pull over," he said.

She laughed again. "No, let's find a room."

They stopped at a Comfort Inn that had lost its franchise and now called itself the Comfort Valley Lodge. The night clerk was obese and her computer was down. She manually registered Chip with the labored breathing of someone lately stranded by a systems malfunction. Chip put his hand on Melissa's belly and was about to reach into her pants when it occurred to him that fingering a woman in public was inappropriate and might cause trouble. For similar, purely rational reasons he suppressed the impulse to pull his dick out of his pants and show it to the wheezing, perspiring clerk. But he did think the clerk would be interested in seeing it.

He took Melissa down on the cigarette-divoted carpeting of Room 23 without even shutting the door.

"It is so much better like this!" Melissa said, kicking the door shut. She yanked her pants down and practically wailed with delight, "This is so much better!"

He didn't dress all weekend. The towel he was wearing when he took delivery of a pizza fell open before the delivery man could turn away. "Hey, love, it's me," Melissa said into her cell phone while Chip lay down behind her and went at her. She kept her phone arm free and made supportive filial noises. "Uh-huh . . . Uh-huh . . . Sure, sure . . . No, that's hard, Mom . . . No, you're right, that is hard . . . Sure . . . Sure . . . Uh-huh . . . Sure . . . That's really, really hard," she said, with a twinkle in her voice, as Chip sought leverage for an extra sweet half inch of penetration while he shot. On Monday and Tuesday he dictated large chunks of a term paper on Carol Gilligan which Melissa was too annoyed with Vendla O'Fallon to write by herself. His near-photographic recall of Gilligan's arguments, his total mastery of theory, got him so excited that he began to tease Melissa's hair with his erection. He ran the head of it up and down the keyboard of her computer and applied a gleaming smudge to the liquid-crystal screen. "Darling," she said, "don't come on my computer." He nudged her cheeks and ears and tickled her armpits and finally backed her up against the bathroom door while she bathed him in her cherry-red smile.

Each night around dinnertime, for four nights running, she went to her luggage and got two more golden caplets. Then on Wednesday Chip took her to a cineplex and they sneaked into an extra movie and a half for the price of the original matinee bargain. Back at the Comfort Valley Lodge, after a late pancake dinner, Melissa called her mother and spoke at such length that Chip fell asleep without swallowing a caplet.

He awoke on Thanksgiving in the gray light of his undrugged self. For a while, as he lay listening to the sparse holiday traffic on Route 2, he couldn't place what was different. Something about the body beside him was making him uneasy. He considered turning and burying his face in Melissa's back, but it seemed to him she must be sick of him. He could hardly believe she hadn't minded his attacks on her, all his pushing and pawing and poking. That she didn't feel like a piece of meat that he'd been using.

In a matter of seconds, like a market inundated by a wave of panic selling, he was plunged into shame and self-consciousness. He couldn't bear to stay in bed a moment longer. He pulled on his shorts and snagged Melissa's toiletries kit and locked himself in the bathroom.

His problem consisted of a burning wish not to have done the things he'd done. And his body, its chemistry, had a clear instinctive understanding of what he had to do to make this burning wish go away. He had to swallow another Mexican A.

He searched the toiletries kit exhaustively. He wouldn't have thought it possible to feel dependent on a drug with no hedonic kick, a drug that on the evening of his fifth and final dose he hadn't even craved. He uncapped Melissa's lipsticks and removed twin tampons from their pink plastic holder and probed with a bobby pin down through her jar of skin cleanser. Nothing.

He took the kit back out to the main room, which was fully light now, and whispered Melissa's name. Receiving no answer, he dropped to his knees and rifled her canvas travel bag. Paddled his fingers in the empty cups of bras. Squeezed her sock balls. Touched the various private pouches and compartments of the bag. This new and different violation of Melissa was sensationally painful to him. In the orange light of his shame he felt as if he were abusing her internal organs. He felt like a surgeon atrociously fondling her youthful lungs, defiling her kidneys, sticking his finger in her perfect, tender pancreas. The sweetness of her little socks, and the thought of the even littler socks of her all too proximate girlhood, and the image of a hopeful bright romantic sophomore packing clothes for a trip with her esteemed professor-each sentimental association added fuel to his shame, each image recalled him to the unfunny raw comedy of what he'd done to her. The jismic grunting butt-oink. The jiggling frantic nut-swing.

By now his shame was boiling so furiously it felt liable to burst things in his brain. Nevertheless, while keeping a close eye on Melissa's sleeping form, he managed to paw her clothing a second time. Only after he'd resqueezed and rehandled each piece of it did he conclude that the Mexican A was in the big zippered outer pocket of her bag. This zipper he eased open tooth by tooth, clenching his own teeth to survive the noise of it. He'd worked the pocket open just far enough to push his hand through it (and the stress of this latest of his penetrations released fresh gusts of flammable memory; he felt mortified by each of the manual liberties he'd taken with Melissa here in Room 23, by the insatiable lewd avidity of his fingers; he wished he could have left her alone) when the cell phone on the nightstand tinkled and with a groan she came awake.

He snatched his hand from the forbidden place, ran to the bathroom, and took a long shower. By the time he came out, Melissa was dressed and had repacked her bag. She looked utterly uncarnal in the morning light. She was whistling a happy tune.

"Darling, a change of plans," she said. "My father, who really is a lovely man, is coming out to Westport for the day. I want to go be with them."

Chip wished he could fail to feel the shame that she was failing to feel; but to beg for another pill was acutely embarrassing. "What about our dinner?" he said.

"I'm sorry. It's just really important that I be there."

"So it's not enough to be on the phone with them for a couple of hours every day."

"Chip, I'm sorry. But we're talking about my best friends."

Chip had never liked the sound of Tom Paquette: a dilettante rocker and trust-fund baby who ditched his family for a roller blader. And in the last few days Clair's boundless capacity to yak about herself while Melissa listened had turned Chip against her, too.

"Great," he said. "I'll take you to Westport."

Melissa flipped her hair so that it fanned across her back. "Darling? Don't be mad."

"If you don't want to go to the Cape, you don't want to go to the Cape. I'll take you to Westport."

"Good. Are you going to get dressed?"

"It's just that, Melissa, you know, there's something a little sick about being so close to your parents."

She seemed not to have heard him. She went to the mirror and applied mascara. She put on lipstick. Chip stood in the middle of the room with a towel around his waist. He felt warty and egregious. He felt that Melissa was right to be disgusted by him. And yet he wanted to be clear.

"Do you understand what I'm saying?"

"Darling. Chip." She pressed her painted lips together. "Get dressed."

"I'm saying, Melissa, that children are not supposed to get along with their parents. Your parents are not supposed to be your best friends. There's supposed to be some element of rebellion. That's how you define yourself as a person."

"Maybe it's how you define yourself," she said. "But then you're not exactly an advertisement for happy adulthood."

He grinned and bore this.

"I like myself," she said. "But you don't seem to like yourself so much."

"Your parents seem very fond of themselves, too," he said. "You seem very fond of yourselves as a family."

He'd never seen Melissa really angry. "I love myself," she said. "What's wrong with that?"

He was unable to say what was wrong with it. He was unable to say what was wrong with anything about Melissa-her self-adoring parents, her theatricality and confidence, her infatuation with capitalism, her lack of good friends her own age. The feeling he'd had on the last day of Consuming Narratives, the feeling that he was mistaken about everything, that there was nothing wrong with the world and nothing wrong with being happy in it, that the problem was his and his alone, returned with such force that he had to sit down on the bed.

"What's our drug situation?"

"We're out," Melissa said.

"OK."

"I got six of them and you've had five."

"What?"

"And it was a big mistake, evidently, not to give you all six."

"What have you been taking?"

"Advil, darling." Her tone with this endearment had moved beyond the arch to the outright ironic. "For saddle sorengss?"

"I never asked you to get that drug," he said.

"Not in so many words," she said.

"What do you mean by that?"

"Well, a fat lot of fun we were going to have without it."

Chip didn't ask her to explain. He was afraid she meant he'd been a lousy, anxious lover until he took Mexican A. He had, of course, been a lousy, anxious lover; but he'd allowed himself to hope she hadn't noticed. Under the weight of this fresh shame, and with no drug left in the room to alleviate it, he bowed his head and pressed his hands into his face. Shame was pushing down and rage was boiling up.

"Are you going to drive me to Westport?" Melissa said.

He nodded, but she must not have been looking at him, because he heard her flipping through a phone book. He heard her tell a dispatcher she needed a ride to New London. He heard her say: "The Comfort Valley Lodge. Room twenty-three."

"I'll drive you to Westport," he said.

She shut the phone. "No, this is fine."

"Melissa. Cancel the cab. I'll drive you."

She parted the room's rear curtains, exposing a vista of Cyclone fencing, stick-straight maples, and the back side of a recycling plant. Eight or ten snow flakes drifted dismally. In the eastern sky was a raw patch where the cloud cover was abraded, the white sun wearing through. Chip dressed quickly while Melissa's back was turned. If he hadn't been so strangely full of shame, he might have gone to the window and put his hands on her, and she might have turned and forgiven him. But his hands felt predatory. He imagined her recoiling, and he wasn't entirely convinced that some dark percentage of his being didn't really want to rape her, to make her pay for liking herself in a way he couldn't like himself. How he hated and how he loved the lilt in her voice, the bounce in her step, the serenity of her amour propre! She got to be her and he didn't. And he could see that he was ruined-that he didn't like her but would miss her disastrously.

She dialed another number. "Hey, love," she said into her cell phone. "I'm on my way to New London. I'll take the first train that comes. . . No, I just want to be with you guys. . . Totally. . . Yes, totally. . . OK, kiss kiss, I'll see you when I see you. . . Yep."

A car honked outside the door.

"There's my cab," she told her mother. "Right, OK. Kiss kiss. Bye."

She shrugged into her jacket, lifted her bag, and waltzed across the room. At the door she announced in a general way that she was leaving. "I'll see you later," she said, almost looking at Chip.

He couldn't figure out if she was immensely well adjusted or seriously messed up. He heard a cab door slam, an engine rumble. He went to the front window and got a glimpse of her cherrywood hair through the rear window of a red-and-white cab. He decided, after five years without, that the time had come to buy some cigarettes.

He put on a jacket and crossed expanses of cold asphalt indifferent to pedestrians. He pushed money through a slot in the bulletproof glass of a minimart.

It was the morning of Thanksgiving. The flurries had stopped and the sun was halfway out. A gull's wings rattled and clacked. The breeze had a ruffly quality, it didn't quite seem to touch the ground. Chip sat on a freezing guardrail and smoked and took comfort in the sturdy mediocrity of American commerce, the unpretending metal and plastic roadside hardware. The thunk of a gas-pump nozzle halting when a tank was filled, the humility and promptness of its service. And a 99C/ Big Gulp banner swelling with wind and sailing nowhere, its nylon ropes whipping and pinging on a galvanized standard. And the black sanserif numerals of gasoline prices, the company of so many 9s. And American sedans moving down the access road at nearly stationary speeds like thirty. And orange and yellow plastic pennants shivering overhead on guys.

"Dad fell down the basement stairs again," Enid said while the rain came down in New York City. "He was carrying a big box of pecans to the basement and he didn't hold the railing and he fell. Well, you can imagine how many pecans are in a twelve-pound box. Those nuts rolled everywhere. Denise, I spent half a day on my hands and knees. And I'm still finding them. They're the same color as those crickets we can't get rid of. I reach down to pick up a pecan, and it jumps in my face!"

Denise was trimming the stems of the sunflowers she'd brought. "Why was Dad carrying twelve pounds of pecans down the basement stairs?"

"He wanted a project he could work on in his chair. He was going to shell them." Enid hovered at Denise's shoulder. "Is there something I can do here?"

"You can find me a vase."

The first cabinet that Enid opened contained a carton of winebottle corks and nothing else. "I don't understand why Chip invited us here if he wasn't even going to eat lunch with us."

"Conceivably," Denise said, "he didn't plan on getting dumped this morning."

Denise's tone of voice was forever informing Enid that she was stupid. Denise was not, Enid felt, a very warm or giving person. However, Denise was a daughter, and a few weeks ago Enid had done a shameful thing that she was now in serious need of confessing to somebody, and she hoped Denise might be that person.

"Gary wants us to sell the house and move to Philadelphia," she said. "Gary thinks Philadelphia makes sense because he's there and you're there and Chip's in New York. I said to Gary, I love my children, but St. Jude is where I'm comfortable. Denise, I'm a midwesterner. I'd be lost in Philadelphia. Gary wants us to sign up for assisted living. He doesn't understand that it's already too late. Those places won't let you in if you have a condition like Dad's."

"But if Dad keeps falling down the stairs."

"Denise, he doesn't hold the railing! He refuses to accept that he shouldn't be carrying things on the stairs."

Underneath the sink Enid found a vase behind a stack of framed photographs, four pictures of pinkish furry things, some sort of kooky art or medical photos. She tried to reach past them quietly, but she knocked over an asparagus steamer that she'd given Chip for Christmas once. As soon as Denise looked down, Enid could not pretend she hadn't seen the pictures. "What on earth?" she said, scowling. "Denise, what are these?"

"What do you mean, `what are these?'?"