A pretty conceit! Go, man, go, I wanted to cry, sincerely for a change. But no sooner do I voice my delight — my ardent delight that “Arthur Morton King” intends to speak once again to the passions instead of playing his avant-garde games — than Ambrose chills over as if Medusa’d, and makes clear to me that his main interest in the story is formal: the working out, in narrative, of logarithmic spirals, “golden ratios,” Fibonacci series. Never mind the pathos of the failing marriage and fading hero; the touching idea that Medusa loves Perseus, even after he decapitates her; the tender physics by which paralyzing self-consciousness becomes enabling self-awareness, petrifaction estellation: out came the diagrams, on graph paper, of whirling triangles, chambered nautili, eclipsing binaries, spiral galaxies! And I am stripped and stood, not for ritual insemination (it had been but two days since the last), much less the simple making of love, but for his measuring whether, as he had read was the average case with Caucasian women, the distance from my feet to my navel was.618+ of my overall height—i.e., Phi, the golden ratio!
I was low-phi, lower-spirited. If I speak lightly, it is for the same reason that I speak at all: to drown out your thundering silence, to delay my going mad. In the same spirit I have begun your Goat-Boy novel and the preparation for the press of Andrew Cook IV’s four-letter family history. They have this connexion: the fictional prefatory letters to your novel pretend to dispute the factuality of the text; but my factual preface to and commentary upon Cook’s letters to his unborn child must address and if possible resolve the question of their authenticity. I am full of doubts — on account not only of their dubious source and questionable motive, but of such textual details as the inconsistently idiosyncratic spelling, some apparent anachronisms (e.g. counterinsurgent, which my Oxford English Dictionary does not even list, though it attests counter-revolutionist back to 1793 and insurgent back to 1765), and a vague modernity in their preoccupation. Yet it seems not impossible that they are genuine — the stationery and calligraphy strike me as authentic, though of course I’ll check them out — or at worst corrupted copies, on old paper, of authentic originals, perhaps altered to some ulterior purpose, like the notorious Henry Letters they allude to. As a historian of sorts, I must of course make a proper inquiry. As a quondam intimate of André Castine, I know how futile such an inquiry may prove against an artful doctorer of letters. As a too tormented human being, I am tempted to rush them into print, in some uncritical journal of local history, to the end of precipitating what they’re supposed to precipitate, and hang the consequences!
But I have not quite lost my professional grip: had not, anyroad, as of Thursday last, the day before yesterday, when I bethought me to drive across the Bay “to Annapolis, maybe even Washington,” beard A. B. Cook VI in his den, have done with mysteries, confront him with (copies of) the letters, and pin him down once for all on his relation to “Henri Burlingame VII.” The film company have finished the first round of location shooting in Cambridge and “Barataria” on Bloodsworth Island, and are dispersed, to regroup next week on the Niagara Frontier for the second round (Where do the Falls figure in your fiction? I had thought it all set in Maryland or in Nowhere); Ambrose was busy with slide rule and mechanical-drawing instruments — strange tools for a man of letters! So I slipped out of 24 L with a briefcaseful of proper attire, endured the smirks of attendants at the first service station on Rte 50 (who surely took me for a superannuated whore) in order to fetch the key to the Ladies and change from mini to midlength, do up my hair, harness in the old tits and turn — what relief! — and, for the first time since the weekend, look my proper self (the chap checked my credit card as if for fraud). Then over the bridge to Chautaugua, Md, on the south shore of the Magothy, and up a certain shrubberied drive to a letterbox marked COOK.
