Fiction

Last-minute orgasm

Time flies when you're being hustled by a veteran john. Fourth in a series.

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Last-minute orgasm

Friday afternoon, 2/11/00

Etienne is back from a short trip to Paris. “Realizing this is intolerably short notice,” he began in a wheedling voice. “I hope you still remember who I am? What a week! Could we perhaps … this evening? Allow me to forget this gruesome week …”

After almost ten years — he’s one of my oldest customers, by which I mean longest — he still employs these coy icebreakers.

“Be here no later than six!” I cautioned him.

I have to meet Matt at seven, but didn’t tell him that, of course. Never let a guy feel he’s being rushed. And never let him know why! Just in case he does feel rushed.

“Bien sûr,” he purred agreeably. Etienne has lived on East Sixty-seventh Street for more than three decades, but his accent remains strangely intact. One of his many style decisions.

Saturday, 2/12/00

Etienne arrived last night, carrying a chocolate-brown umbrella with an engraved brass handle in the shape of a swan’s head.

“Very handsome,” I told him. “Did you find it in Paris?”

“It keeps me dry,” he said with a humorous shrug. “My children gave it to me for Christmas.”

Etienne’s son is an eye surgeon, and his two daughters are teachers. I think he once told me that the oldest daughter is married to a guy at Salomon.

Lying on the couch with my bare feet nestled in Etienne’s lap, I smiled as he traced gentle lines on my calves with his fingertips.

“Do you know what your most interesting feature is?” he asked dreamily. “I am always curious to know what a woman will designate as her most important feature. Women are so often at odds with their paramours.”

I gazed down at my legs. Sometimes, when I’m with Matt, I get paranoid about my thighs. But never when I’m with a customer. At work, a pragmatic self-appreciation kicks in: I instantly feel, oh, 10 to 30 percent more attractive as soon as I have an appointment lined up. It’s an engine that switches on by itself. You answer the phone, make the appointment, look in the mirror, and you see what the client will be getting. It’s hard to be so objective with a boyfriend. And lovely to be appreciated by a succession of men over 50.

I was wearing my new zebra-print thong and nothing else — so I couldn’t hide the effect this was having on my nipples. A familiar tingle caused my thighs to turn in slightly. Etienne ran a considerate fingertip over my right breast and smiled. Now, I thought, smiling back, here he comes, as predictable as a clock. Sensing my body’s pliant mood, he moved closer. His lips made a dangerous beeline for mine, but I dodged him gracefully and I slid away from his kiss.

“Let’s continue this biology lesson in the bedroom!” I giggled, grabbing his hand.

“You are a foul-tempered devil,” he muttered. “Why do you welcome my kisses here,” he said, tapping the front of my panties, “but not here?” He touched a finger to the corner of my mouth.

“One of life’s mysteries,” I murmured, slipping out of my panties.

“You never answered,” he said, placing his mouth against one breast. His tongue was warm, not too demanding, and my nipple couldn’t help but encourage him. “If you had to choose just one important feature?”

“I’d pick two,” I said, knowing how much my vanity pleases Etienne. “My face and my breasts.” I couldn’t exactly repeat my secret answer: “If only I didn’t rely on them so much! My face has made me rather lazy about exercise, and my tummy always threatens to betray me. I should go to the gym more often, but I seem to be getting away with it because you keep calling.”

He smiled and cupped one breast, then ran his hand over my abdomen. “No quarrel with your assessment — but for me, it’s your skin.”

“Really?” How, after a decade of seeing me, does this man come up with such charming new material? He’s a born flirt, the genuine article.

“The texture is what I find so … compelling.” And then, as my flattered smile registered on Etienne, his intrusive mouth sought another off-limits kiss.

“Darling,” I breathed, maneuvering my neck to evade him, “my pussy is getting so impatient …” I tactfully directed his face toward my open thighs. Almost 6:30. How time flies when you’re being hustled by a veteran john!

When I emerged from my building — just a few moments after Etienne’s departure — Matt was waiting in a cab, delighted that, for once, I was ready on time.

Elspeth’s buffet was in full swing when we arrived at her apartment. My cousin Miranda was standing next to a giant brioche, halfheartedly fending off a sandy-haired, somewhat beefy-looking guy I’ve seen many times before. He’s at all of Elspeth’s parties and I think he must be one of her junior lawyers, but I can never remember his name. Miranda has a permanent tan from growing up in Trinidad, and her mother, like my dad, is half-Indian.

“Fascinating,” the sandy-haired guy was saying. “I had no idea such a unique mixture of beauty was actually possible. Your father’s Chinese?”

Miranda smiled oddly and pulled me toward her. “Meet my cousin Nancy,” she told him. “This is … um … Christopher. I’ll be back!” she added, pulling me in yet another direction. “Let’s get Nancy a drink.”

“Well, I guess Matt can keep him busy,” I said. “How’s everything?”

“Oh, fine, now that you’re here! All these men keep hitting on me!” she complained. “I thought you’d never arrive. And that … Christopher. He keeps talking about how exotic I am. You know, I feel like an object,” she said in a low bitter voice.

The terrible twenties! She really believes she doesn’t want all this attention. Even though she’s wearing a cropped cashmere sweater and the tightest Dolce & Gabbana pants I’ve seen in weeks.

“Your outfit’s kind of sexy,” I pointed out, as she steered me toward the champagne. “And your belly-button ring is a definite draw.”

“Not that kind of object!” she said. “He keeps harping on how exotic I look just because — just because I’m half-Chinese.” And she still has that trace of a Trinidad accent, which suburban New Yorkers like Christopher don’t expect a Chinese-looking girl to have. I don’t have that accent, because I left at the age of two.

“He meant it as a compliment,” I said. “Be nice to him, he’s trying to be poetic and charming. And don’t take it so personally! To him, you are exotic.”

“Well, I’m sick of everyone asking me where I’m from,” she told me. “Especially men.”

“Then go back to Trinidad where everybody will know exactly where you’re from. And you won’t be exotic anymore. But you’d hate having to deal with Trinidadian men. Can you imagine?”

In this, we’re viscerally united. Neither of us has ever had a boyfriend from the islands. Though she still has the accent, she really can’t go back. Miranda clinked her champagne glass against mine and gave me a rueful smile.

“I suppose that’s right. Look, here he comes. Mr. Exotic himself.”

“You just resent him because he’s not wearing one of those strange little goatees. He’s a nice guy! Let him take you out to dinner sometime.”

“Oh, he’s not my type,” she sighed, rolling her eyes at me as if I were one of our great-aunts. Except that she would never actually roll her eyes in that way at any of our great-aunts. It would have to be done on the sly.

Christopher and Matt were heading toward us, led by Elspeth, who was dressed in party Manolos, black satin capris, and a transparent silk T-shirt. Elspeth is one of those A-cup gals who can maintain her respectability in a see-through blouse. Her short auburn hair topped off a smooth, pretty line that ended at her pointy toes. An audible “Nancy!” startled a few guests. That brittle voice takes some getting used to — it doesn’t really go with her pixielike features. “Miranda!” Much air-kissing. “Being engaged to my little brother really agrees with her!” she exclaimed. “You look different tonight. Isn’t she radiant!” she said to Matt and Miranda. “I swear to god, you’re glowing, Nancy.”

That’s because, while rushing Etienne through his session, I felt obliged to throw in a real orgasm. A man won’t think of you as a pleasure-pinching hooker if you take a little time out for an orgasm. If, just minutes ago, he felt the tremors of your clitoris against his tongue, it’s a cinch to get him off, then send him out early, feeling pleased with himself.

I glanced around at all the high-heeled guests and felt a twinge of ambivalence. Should I have worn sluttish stilts instead of flats? Nobody would guess that less than one hour ago I was lying in bed with my thighs wrapped around the face of a gray-haired man, conjuring up degrading fantasies (with Matt in the lead role) so I could get my orgasm over with, already. Not with all these women gliding around on their party stilts while I stand here in my shiny good-girl flats. Deep cover.

“Men are dogs,” Elspeth was saying. “Jason promised to be here no later than six! To help! Yeah, right. He’s stuck in a meeting and he totally forgot. Did you get my e-mail?” she asked. “About the fabric dyes?”

“I haven’t had a chance to log on all day,” I explained. “I was, um, trying to get this project finished and I got sort of caught up — overwhelmed by it.”

“And listen, there’s this Web site that — don’t knock it till you try it — helps you organize your wedding. I wish this had been around five years ago, when I got married. Take it from me, the day will go more smoothly if you break it down into components. They have a private chat list for anxious brides. Lucy, my colorist, says they discuss everything.” She cast a meaningful glance at Matt, to indicate the Girls Only quality of the list.

“Really? Like, first-night jitters?” Matt said, with a mischievous smirk.

“No.” Elspeth pretended to be annoyed. “Lingerie and bouquets. So, Nancy: this project that keeps you so busy. What’s the latest? Are you almost done?”

Miranda turned away from Christopher and leaned in to hear more. I felt a quiver of insecurity in my solar plexus, which I tried to quell with champagne, then managed to make a few nonremarks about my fake job. Matt, Elspeth, my family, his family — they all think of me as a part-time slacker who does copy editing for extra money. Miranda is so clearly a girl with an allowance that any relative of hers can be tarred with the same brush, so Matt assumes that my work supplements a modest income from my parents.

Fortunately, most people think the doings of a copy editor are pretty boring. It’s easy to get them distracted from my supposed job: Just talk about it! The subject usually changes, quite rapidly, when I explain that my current “project” is a massive treatise on Eastern medicine that the author hopes to translate into German. It’s important to mention a language that is totally unsexy.

“How did you meet this guy?” Elspeth asked. “This — what is he, an acupuncturist? And a chiropractor? From where?” She wasn’t letting go of the subject as easily as I had hoped.

“Oh, ah, he’s a family friend of the translator,” I explained. “She’s going to translate the whole thing when I’m finished, and we’re having this terrible problem because a file got corrupted and he only made one backup.”

Christopher was trying to look interested and Matt was examining the wine bottles as Elspeth went on.

“And where did he train?” she said, looking directly at me.

I was stumped. Where did this fictional chiropractor learn how to be an acupuncturist? She was waiting for an answer.

“Uh, you mean his computer training or his medical training?” I did my best to appear confused. “His computer skills are negligible,” I added.

Elspeth glanced at Matt and began to say something. Then she stopped. I turned to the bar for another glass of champagne, horrified by my questionable performance. When I came back, Elspeth was having a rather quiet tête-à-tête with her brother. Matt looked up and came closer, to put his arm around my waist while Elspeth gave us both a long, thoughtful stare.

“So, what’s the publication date?” Elspeth demanded, in a cheery yet ominous voice.

“Well, I … ” Leaning into Matt’s light embrace, I cleared my throat pensively. “The thing is, I made an agreement. I’ve signed a contract not to discuss — I’m not really allowed to disclose any of the details. I know it’s a bit silly — with a book like this — but it’s part of my arrangement with the translator.”

“Really? Is that a common practice?” Elspeth wanted to know. Jesus Christ.

“I thought it was, but I really don’t know. Why?”

It bothered me that she had stopped asking where the chiropractor trained and was now on a new line of questioning altogether — just when I thought I might have a suitable answer for the last question. And this was all supposed to be so boring!

“I wonder if a contract of this sort is enforceable,” she said. “What are the limits? Did you show it to a lawyer? If you did, you’d have to tell your lawyer about the book. What if you told your doctor? Or your psychiatrist? Could a publisher call them to testify about what you leaked? What if there was a crime involved?”

“Elspeth had too much coffee this morning,” Matt sighed.

“Well, a contract like that raises important privilege issues that Nancy might not have considered.” She looked at me quizzically. “Not that you’re the kind of girl with any secrets to keep. Or are you?” she asked with a sharp, mischievous smile.

A tall blonde in a red scoop-necked blouse and a leather skirt caused Elspeth to break away. “Karen! You look great! I’d like you to meet my future sister-in-law, Nancy.”

I wondered if Karen was one of Elspeth’s law school buddies, a fellow prosecutor, perhaps. Increasingly, I find that the more provocative the outfit, the straighter the job. I almost wonder if a display of cleavage and flesh will make me blend in more.

“My brother’s a player,” Elspeth said proudly. She grabbed my hand to show Karen my three-carat diamond. “When he does something, he really does it.”

“It’s gorgeous,” Karen gushed. “We have to talk! I just heard about a fabulous two-bedroom — would you consider moving downtown? Tribeca?”

“Karen’s a real estate genius,” Elspeth chimed in. “Give them your card — I was telling Matt the other day, ‘You can’t expect Nancy to start a new life with you in that bachelor pad!’”

Elspeth’s husband appeared in the doorway carrying a huge briefcase. Jason’s the money in that marriage — an M&A lawyer. Elspeth, the assistant D.A., sees herself as the integrity. Naturally, he’s the polite one and she’s the loudmouth.

“Better late than never!” she rasped cheerfully. “Where were you?”

As he leaned forward for our perfunctory kiss on the cheek, we exchanged a brief look, that “Eye Contract” entered into by two people who might never have met if two other people weren’t related to each other. Restrained sympathy. A curious desire to understand the other person. Followed by relief because you don’t really have to.

When I turned around, Karen and Matt were trading business cards, and I could feel the walls of an unseen apartment closing in on me.

“Matt says you have a new e-mail address? Here’s mine. You’re going to love this place — it’s perfect for a young couple,” Karen told me.

“Oh, I’d love it if you two moved downtown,” Miranda said. “There’s so much happening! We can meet for lunch, Nancy, near the museum.” Miranda works at the New Museum of Contemporary Art, which is smack-dab in the middle of thronging hell! But she loves it because she has no memory of what SoHo was like when it was just a budding restaurant scene with a few nice shops.

“And it’s closer to work,” Matt said. “Definitely. Can we see it this weekend?”

What did I get myself into here? Tribeca? Oh god. Overpriced, inconvenient, miles from my hairdresser and my bikini waxing … not to mention my shrink. But my geographic horror gave way to relief. Thanks to Karen and Miranda and Matt, all singing the praises of an overrated neighborhood, Elspeth was now focusing on us as a couple and seemed to be less curious about me. Thank god.

Sunday, 2/13/00

Update on the Tribeca 2BR. According to Karen’s bubbly e-mail, it’s got a breakfast nook and a balcony. The current occupants bought in ’92, before the market started going haywire, and the husband has persuaded his wife to relocate to East End Avenue so their daughter can walk to school. Karen has a special rapport with the co-op board, which insists on vetting all prospective renters — in the flesh. “I’ll get you in, no problem,” she threatened — I mean, promised.

This morning, while Matt was in the shower, I snuck in a quick call to Liane. “I can’t talk long,” I warned her. “My boyfriend and I are going to look at a rental on Franklin Street. I just have a minute.”

Like every madam I’ve known, Liane is exceedingly generous with her wisdom. At 70-something, tall, slender, and Dioresque, she is still the epitome of 1950s elegance. And 1950s ethics, too.

“Under no circumstances should a girl like you ‘live with’ a man,” she said. “These trial marriages are a big mistake.”

Trial marriage? Wow. If I tell Liane that I’m responsible for putting off the wedding date, I’ll never hear the end of it.

“Well, I’m not going to tell you how to conduct your life, dear. Don’t you know anyone who’s available tomorrow night?” she asked, changing the subject.

February 14th. A great night to be a call girl without a valentine and a terrible night for madams, because too many girls have relationships that tie them up (so to speak) for the evening.

“You, of course, have a good reason to take tomorrow night off,” Liane remarked. “Your fellow has made a commitment, and he’s a catch. Though you’ll soon see that commitment evaporating if you move in with him! What is your fiancé planning for Valentine’s Day?”

“We’re going to a chamber-music recital.” Liane indicated her approval. “Avoiding the crowds,” I said. “Don’t you think Valentine’s Day can be a bit — ”

“Of a nuisance? Frankly, dear, yes. I have a lovely gentleman from Buenos Aires flying in. He’ll be in meetings all day tomorrow and he wants a brunette with real breasts to arrive at eight, leave at midnight. He’s at the Four Seasons. Dinner in his room, pleasant conversation, garter belt, stockings, two thousand.” She sighed. “He’s so easy, too! Or so I’ve heard. You’d be perfect.”

I felt a twinge of regret, despite the fact that 40 percent would go to Liane if I were to see him.

“How about Jasmine?”

“She’s too businesslike,” Liane objected. “And he prefers someone petite. Well, I suppose, in her little Chanel ballet flats, Jasmine really looks petite and she’s trim and pretty, so he’s not going to send her away …” Jasmine’s five feet five, but I held my tongue as Liane tried to sell herself on the idea. “She has a nice bust — not too big. She hasn’t had her breasts done, has she?”

“No way!” I assured her. “I’ll call you later.”

I quickly dialed my hairdresser’s number, allowed it to ring once, and quietly hung up. Just in case Matt happened to hit the redial button.

We’ve all heard the horror stories — innocent boyfriends accidentally hitting redial, stumbling across numbers and clients and … welcome to Hooker Hell. If that isn’t every call girl’s worst nightmare, it certainly should be!

Monday, 2/14/00

Today I showed Wendy the keys to Matt’s … bachelor pad, as Elspeth calls it. (What do you call the apartment of a man who wants to forsake bachelorhood for you and you alone?)

“So you have the keys to your ‘corporate sponsor’s’ headquarters?” my shrink asked, cocking her head to one side.

The keys were sitting on the small table between us, next to her tissue box.

“I never use them. Only to lock up when I’m leaving — if he’s not there.”

“Never?”

“Well, he might be inspired to ask for a set of mine. I couldn’t possibly let Matt have keys to my place! And I’m always afraid he’ll bring that up. This morning …” I scowled unhappily. “I resolved to throw them into the Hudson.”

“Really. What’s going on?”

I crossed my arms uncomfortably. “His sister’s pushing me to set a wedding date, and she introduced us to this real estate broker.” I told Wendy about the two-bedroom on Franklin Street. “Matt thinks it’s wonderful and he just assumes I do, too. He has this idea that we’ll become some kind of downtown couple, but his whole idea of what downtown is really about is just silly! And false! Moving downtown isn’t what makes you a downtown person. It’s so naive! He’s not really a New Yorker,” I explained, “and it’s becoming more obvious. How can I live in Tribeca with some guy who doesn’t even know that he’s not really living downtown, that the whole area has become an overpriced travesty! He has zero sense of real estate irony.”

“So you’re angry at your boyfriend because he’s still an out-of-towner.”

Wendy blinked, betraying a hint of a smile, and I suddenly felt unfaithful. Boyfriend-bashing is fine if restricted to certain topics, but this was pushing the envelope. You’re supposed to be able to say anything about anybody in therapy, but I felt guilty. Admitting that he’s geographically unhip to the point of clueless! A good girlfriend doesn’t speak derisively about a guy who is so … invested in her.

“Where is Matt from, if you don’t mind my asking?”

“Connecticut.”

“Irish-Catholic?”

“No, some kind of part-time Protestant. His mother came from one of those Hudson Valley Huguenot families. But he’s not very interested in his ancestors. Or his religion. He’s … ” I smiled and blushed. “Very keen on the present and the future.”

“Yes?” Wendy looked quizzical. “You had a pleasurable thought.”

“Oh, nothing. He’s so cute,” I sighed. “Sometimes, I just want us to keep dating. I’d like to stop time and be old enough to know better and young enough to play the game and … be pursued by this up-and-coming guy for the rest of my life. I guess I’m like one of those clients — those men who keep holding back because they don’t want to come. They don’t want their session to end, and they just keep prolonging it.”

“And how do you feel about those men?”

“I used to hate them! But now I’m used to it. I know how to pace myself, how to hurry them along — gently, of course. But nobody feels upbeat about getting a difficult customer.”

“So if you’re a difficult customer, what does this new apartment signify? The end of an ‘exciting session’?”

“Look, any normal woman would be thrilled. It’s really a very nice place. It’s close to Wall Street, so it’s perfect for Matt, but it’s miles away from everything I do. Does he expect me to give up my home, my neighborhood, my entire life? Just like that?”

“To be fair, I don’t think Matt has any idea what you’ll be giving up if you move in with him.”

“No kidding! If I move in with him, I’ll — I’ll be reduced to doing outcalls.” (What else? Rent Jasmine’s bedroom by the hour? The bulk of my business today is in my apartment.) “He doesn’t understand how I support myself. I think he thinks I’m getting money from my family.”

“Did you tell him that?”

“Um, no. I just sort of let him think it. I mean, there’s no way I could dress the way I do and live where I live if I really made my entire living as a freelance copy editor.”

“Interesting. Why did you get engaged?” Dr. Wendy asked in a quieter voice.

Tears of self-pity began to pour down my cheeks. Fortunately, Dr. Wendy’s office and my bedroom are two places where you never have to hunt around for a tissue!

I blew my nose and explained, “It was totally unprofessional of me — I didn’t think it through! I accepted his ring. I was too dazzled to think — disoriented, afraid — ”

“What were you afraid of?”

“He came over to pick up his keys.” I pointed to the keys on the table. “We had broken up a few days before, and he was acting strange. I started thinking he was going to assault me.”

“Has he assaulted you before?” Wendy was alarmed.

“Of course not!” Matt smacking a girl — that’s unthinkable. But you can’t even joke about such matters these days. Everybody, even your shrink who has known you for half a decade, will suspect that you’re protecting a social monster. “It was a misunderstanding,” I assured her. “I was disoriented. I felt so distant from him at first, and he seemed like a stranger to me, and I didn’t know why he was there. We weren’t seeing each other anymore. But he said he needed his keys because he was locked out of his apartment. And then my mind flashed on this terrible thing that happened when I was 16!”

“Yes?”

“A john who waved a gun in my face. I was terrified. And when I started screaming my head off, the client got so scared of the racket I was making, he begged me to leave.”

“He did?” Wendy sat up straighter. “You weren’t afraid to express your feelings. Your emotions saved your life! I think that’s something to be proud of. Especially at sixteen.”

“Well,” I sniffled, “I ran out of his apartment and I tripped on my own pants — I was wearing harem pants with those cords at the ankles, but they were loose — and when I tripped, I slid down the stairs on my back in my high heels.”

Wendy was now gripping the arms of her chair. “My god. At 16?”

“Oh.” I stopped crying. “I was fine. When I got to the bottom of the stairs, I was kind of shocked, but I wasn’t hurt.”

“You could have broken your neck! Or your back!”

“But I didn’t. I got right up, buttoned my blouse, found a cab, and went back to the escort agency. I was so relieved that none of the neighbors saw me.” I had just started working for Jeannie’s Dream Dates, an outcall service owned by a madam named Mary. She ran it from a midtown studio apartment, advertised in the Yellow Pages (and some other publications I prefer not to think about), and felt that Mary was a terrible name for a madam. So she called herself Jeannie.

Wendy took a deep breath. “So this is what was going through your mind when Matt proposed? A narrow escape from a gun-toting john. Did that happen in New York?”

“Yes.” I laughed briefly. “In a very nice town house right off Park Avenue in Murray Hill. Too much coke. The client was upset because I couldn’t make him come and his hour was up.”

Maybe my flexible teenaged body saved me when I tumbled down those stairs. But the point is, I’ve gotten away with so much — how much longer can it go on? I’m not a teenager anymore.

“And Matt’s proposal — was it really a surprise?”

“God, yes. I never imagined … ”

Wendy jutted her chin forward — her Listening Gesture.

“I had broken up with him and I was ready to devote myself to my business. I decided to swear off boyfriends. Then Matt called. He made up that story about the keys, which I believed.”

Wendy nodded.

“When he grabbed my hand, I got nervous. He was so much stronger. And suddenly, I remembered that guy with the gun. I thought: I’ve come this far, I have my own clients, I don’t have to work for some sleazy escort service, I’m well-connected and go to the best hotels. My clients are the movers and shakers of the universe. They run Manhattan. But my own boyfriend turns out to be a random nutcase just like that guy! I’ve allowed a maniac into my home! At least, when I was sixteen, that guy didn’t enter my life — I could leave his apartment! For a minute I wasn’t really a success after all. Women who get killed by guys they don’t understand are, by definition, failures. Right?”

There was a pause. Dr. Wendy doesn’t like to call anyone a failure. “And then what happened?”

“He pulled out this beautiful Lucida ring and he was so incredibly gentle and persuasive and passionate, and everything was okay again. I realized that I was a success. My nightmare was a delusion. I never dreamed, when I was a sixteen-year-old hooker, that a guy like Matt would propose to me — that I would even want him to! Don’t you see? I was spellbound! By my own respectability!”

“That’s a lot of material to be processing while your boyfriend’s trying to propose to you.”

“After all the stories I’ve told him, and all the lies he believed, that story about the keys — I really believed him!”

“You fell for his ruse.”

“Yes. I took it as a sign! It made me feel that we belonged together after all. He used his wits — he figured out a scheme to get back into my apartment and into my life. I was so … ” My heart still skips a beat when I remember the confusion, the fear, and the sudden realization that I had been romantically snared — by this guy who didn’t know exactly who or what I was but could still get the better of me. “It made me, you know, respect him as a guy. We had … ” I paused and remembered the reckless lovemaking that had followed. “We had very good sex that night,” I added primly.

“But when Matt came to collect his keys you were reminded of an unsatisfied sex partner from over a decade ago — a man who also wanted something more than you could give.”

This certainly appealed to my therapeutic vanity. And my latent Sinderella Complex. The commercial nymphet in danger, saved by her scheming Galahad. But I fessed up.

“I know marriage is supposed to be the alternative to strange guys waving their weapons in your face. But the truth is, that’s the only time anyone has ever threatened me with a gun. I’m not in that kind of danger. Most of my guys are regular clients. I was just so dazzled. My heart was pounding because he had captured me. He proved that he wasn’t just my mental toy — he surprised me totally.”

“And now? In the cooler light of day?”

“Maybe girls like me aren’t supposed to marry. Wasn’t that the first thing Gigi’s aunt taught her? We don’t marry. Maybe those Old World courtesans had the right idea.”

Wendy knows that “Gigi” is one of my favorite adult fairy tales. The book, the movie, even the corny songs. So does Matt. He, however, just thinks it’s some kind of strange retro quirk.

“Gigi comes from a family of courtesans,” Wendy began. “But the only successful courtesan in the story is her aunt, who also happens to be the head of the family. And she masterminds a marriage for Gigi, despite herself. So, “Gigi” is really a story about ambivalence in the demimonde.”

I savored the phrase, the emotional geography. In the demimonde: ambivalence. A golden age of hooking when girls like me could retreat into their own social country. No wonder they could say, without regret, “We don’t marry.”

“But ambivalence about marriage is not unique to your profession,” Wendy continued. “I meet hundreds of women in my practice — and a lot of men — who use their work to explain a romantic disappointment or a fractured relationship.”

I nodded in agreement but felt rather wistful. So much for my Belle Epoque fantasy of a romantic caste system!

- – - – - – - – - – - – - – - – -

From the forthcoming book “Diary of a Manhattan Call Girl” by Tracy Quan. Copyright (©) 2001 by Tracy Quan. To be published in August by Crown Publishers, a division of Random House, Inc.

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This originally appeared on The Chimerist, a site devoted to the intersection of art, stories, and technology.

Whatever interactive fiction is (and we’re still figuring that out) it suffers from all the problems of traditional fiction and then some. The vast majority of novels and short stories aren’t much good, but when a branching fiction — along the lines of the old “Choose Your Own Adventure” children’s books — fails to engage, the first impulse is to blame the form rather than the content. Let “Frankenstein,” just released by Inkle Studios and Profile Books, serve as a reproach to that reflex. The app is a creative, subtle and sensitive adaptation of Mary Shelley’s classic novella, and it has singlehandedly renewed this critic’s hopes for interactive fiction.

What this “Frankenstein” isn’t is a replication of the source text with the addition of a lot of digital doohickeys like sound effects and illustrations that animate when tapped. The app is all about the text, even if it is beautifully framed by period art and anatomical illustrations. The reader is presented with a screenful of narration and then offered one or more responses to it. The preferred response, when tapped, delivers up another screen of text. (In an absurdly pleasing visual touch, these appear as sheets of paper fasted together by straight pins.) According to the press materials, the reader’s responses will shape the way the narrative is presented, although not to the degree of substantively changing the plot.

This is an important point. The pleasure of storytelling lies in the dynamic between the surprising and the inevitable. The reader wants to feel the story is going somewhere, that its events follow from each other in meaningful, but not too obvious ways. When a story can go anywhere, it feels meaningless. In Mary Shelley’s novella, which is saturated with the Western tradition of the tragedy, Viktor Frankenstein’s character is such that he must create a monster, and the monster’s body is such that he can never belong among human beings however much he yearns to. A “Frankenstein” that ended with either misfit finding a comfortable place in the world would be a travesty.

But that doesn’t mean the reader doesn’t long for the story to unfold otherwise; that’s the nature of tragedy. The great insight that writer Dave Morris brings to this adaptation of the novel is that while a reader cannot significantly change the outcome of the story, the interactive element can change the shading and flavor of the tale. It can be mournful and reflective or action-packed. The creature and his creator can show greater or lesser ambivalence about their own behaviors. The ambiguity of both figures is baked into Mary Shelley’s novella, and while Morris has nearly doubled the word count of the original, this mostly amounts to playing up or down what’s already there.

Morris — a novelist who has written graphic novels, games and, yes, Choose-Your-Own-Adventure stories for kids — has changed the original text in other ways, as well. (Let’s take a moment here to point out to all future narrative app developers that hiring a real writer who actually knows what he or she is doing is totally worth it.) He’s moved the setting to revolutionary France, a choice that shows shrewd understanding of the idealistic political climate that affected Shelley’s thinking; the new Republic is its own kind of Frankenstein’s monster. He’s also eliminated much of the 19th-century framing of the tale and converted it into two present-tense narrations. One is Frankenstein’s dialogue with either himself or a (possibly imaginary) companion. The other is a second-person account of the monster’s first weeks of life as it spies on a family of dispossessed French nobility and has the chance to observe the loving relationships it can never enjoy itself.

Morris presents the reader with choices I’ve not encountered in other interactive fictions. Is humanity mostly good, or mostly evil? Does the most recent development make you (the monster) feel hope or despair? Is the revolution the dawn of a brave new world or a descent into chaos and barbarity? While I’m usually skeptical that present-tense narration increases the “immediacy” of a story, in this case, it really does work, particularly in the sections concerning the monster. Depending on your own outlook, you may urge him to keep trying to connect with humanity, or promptly forward him on to homicidal rage.

In either case, the narrative is shaped not by the reader deciding to turn left or right, to go down into the cellar or to get out of the house — the usual actions offered on the choose-your-own menu. Instead, the options have more to do with personality and interpretation, beliefs and ideas. As a result of the reader’s choices, the characters seem more like him- or herself, with a concurrent ratcheting up of emotional investment. To my surprise, I found myself more moved by this adaptation of the Shelley novel than I have been by the source text. (Although the app does include the original if you want to compare and contrast.) This is the only interactive fiction I’ve ever read with that quintessential, old-fashioned readerly avidity: the hunger to know what happens next. Of course, I already knew, but that didn’t matter at all.

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com.

“The Cove”: A mysterious skull

A new novel begins with a shocking discovery that takes us back to love and life in the South during World War I

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This article appears courtesy of The Barnes & Noble Review.

Ron Rash’s atmospheric, strangely uncomplicated novel, “The Cove,” begins with a scene of melancholy and abandonment, the promise of obliteration, and a shocking discovery. It is 1953 and a man called Parton, a scout for the Tennessee Valley Authority, is investigating a remote parcel of land in North Carolina’s Appalachia for inhabitants who will have to be evicted in advance of the valley’s inundation. In a small notch — from which the book takes its title — over which looms a light-exterminating, anvil-shaped cliff, he finds a deserted farm. Pasture fenced by sagging barbed wire, a collapsed barn, a cabin and two wells are the desolate relicts of past life and labor. The general doominess of the setting is further enhanced by an ash tree decked in charms against evil forces, dead American chestnut trees (victims of the plague that wiped them out across the land), and the memory of the now extinct Carolina parakeet. Parton, thirsty, manages to winch up a bucket of water from one of the wells — and with it a human skull.

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I give little away in revealing this, as it occurs on page 4; it takes another 243 pages and a step back to the late summer and autumn of 1918 to discover the skull’s owner. It is then, during the last months of World War I, that the story takes place. At its heart is Laurel, a young woman afflicted with a large birthmark. She is shunned by the residents of the nearest town, Mars Hill, who believe that the cove is cursed and that she herself is a witch. Both her parents are dead, and with occasional help from a neighbor, she survived the previous summer alone on the farm while her brother, Hank, was away fighting in France. He has returned, absent a hand but resolutely capable and preparing for marriage.

In passage after passage, Rash describes life and work on the farm in its dailiness — the preparation of meals, tending to chores, mending clothes, setting fence poles, pulling wire — creating a sense of order and industry that would seem to promise future happiness and prosperity. But as the initial scene of desolation and death promises the reverse, an air of menace and foreboding pervades the story. And, indeed, like the waters that will inundate the farm decades later, powerful, destructive forces are gathering outside the cove.

On one of her forays to do her laundry in a stream away from the farm, Laurel hears and secretly observes a young man resting in a makeshift camp, playing a flute; days later she finds him near death, stung by a swarm of wasps. She brings him home; he recovers and produces a piece of paper saying that his name is Walter and that he cannot speak or read or write. As we — unlike Laurel or Hank — have already learned that a man has escaped from what turns out to be an internment camp for Germans, we get the picture. Walter won’t speak, but he will help with the farm, and this he does handily, capturing Hank’s admiration and gratitude — and Laurel’s heart.

All the while, anti-German hysteria is escalating in Mars Hill, a volatile temper encouraged by one Sgt. Chauncey Feith, a preposterous character ripped from a handbook of one-dimensional villains. Vainglorious, opportunistic and cowardly, he is a jingo, a sneak and a bully. The son of a politically connected banker, he has been deployed as the town’s recruitment officer, thus avoiding the perils of the battlefield. He has gone about this zealously, congratulating himself at every turn for sending young men off to the war and priding himself on being an “unsung hero, because you couldn’t go around telling people that any man can hold a rifle and stand in a trench but only a select few could do what a general or commodore or recruiter did.” That’s Chauncey Feith for you — believe it or not.

If Walter were to show up at Mars Hill and be recognized, there is no question that he would be strung up as a Hun. Meanwhile life and love go on at the farm. Walter helps Hank in sinking a second well, and the description of digging and lining it deep, deep in the earth is wonderfully potent. Indeed, Rash’s material detail, depiction of work and evocation of place — of nature, woods and stream, the play of light and the oppressive dark of the monstrous cliff — are truly splendid. Still, between the threat of a lynching and scenes from the cove, a vacuum yawns, and into it flows one simple question stripped of complexity: Whose skull? Or, put another way, happy ending or sad? The answer, when it comes, seems perfectly arbitrary.

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“Kingdom Come”: Terror in the London suburbs

A new novel traces an advertising executive's search for his father's murderer in a menacingly bland town

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This article appears courtesy of The Barnes & Noble Review.

J.G. Ballard was born in 1930 in Shanghai, China, and returned to England in 1946, having been interned with his family in a Japanese prison camp, an experience that inspired his most popular novel, “Empire of the Sun.” Ballard’s astonishing fiction ranges across continents and galaxies, but a quiet London suburb was his home until his death in 2009, and it is to the suburbs that he returned in his last novel, “Kingdom Come.” In its opening pages, the narrator, a London advertising executive named Richard Pearson, travels to one of the “perimeter towns dozing against the protective shoulder of the M25″ to find out who murdered his father.  It sounds like the setup for a cosy English mystery.  But this is Ballard.  It will not be cosy.

Barnes & Noble Review“The suburbs dream of violence,” Ballard declares as we enter the blandly menacing town of Brooklands. Among this “placid sea of brickly gables” Richard searches his father’s flat for clues to the life — and violent death — of a parent he barely knew, a pilot who had “flown millions of miles … and then died in a bizarre shooting incident in a suburban shopping mall.” Three others died, and the suspected gunman, a mentally unstable local, is arrested but then released. The police, the family lawyer, the doctor who treated Richard’s father — all appear to be hiding something, while many respectable Brooklands residents seem to have formed a fascist militia.

When Richard first witnesses a racist attack, he concludes that “a new kind of hate had emerged”; its hub is the Metro-Centre, the mega-mall in which his father was killed. During one visit, Richard sits beside the mall’s manmade beach, where Julia Goodwin, his father’s doctor, has arranged to meet him. “The wave machine had been turned to its lowest setting,” he notices, “and a vaguely gastric swell, like a suppressed vomit reflex, flowed across the colorized water.” This languid, sickly image could only be Ballard’s. No other writer so effectively alienates his readers — and his protagonists — from an everyday reality that he reveals to be shifting, often nightmarish terrain.

At the same time, he soothes us. In “Kingdom Come,” as in Ballard’s short stories and in novels like “Crash,” the rhythmical balance of the sentences has a tranquilizing effect, like the shushing roar of the ceaseless traffic on the motorway outside Brooklands. Richard, too, seems oddly numbed as he probes his father’s involvement with local thugs, falls in love with Julia Goodwin, and is increasingly drawn to the Metro-Centre and to the figure of David Cruise, the mall’s TV celebrity.

The novel’s pace quickens as violence spreads and the Metro-Centre comes under attack. “Fights broke out, fists flailing through the workmanlike rise and fall of police truncheons” as screams are drowned out “by the blades of army helicopters cuffing the night air.” Soon the mall becomes a fortress, hostages are taken, and the wave machine churns up a corpse. Emerging from the wreckage, Richard predicts that “In time … an even fiercer republic would open the doors and spin the turnstiles of its beckoning paradise.” In his final, elegiac vision of suburban apocalypse, Ballard once again allows us to imagine the unthinkable.

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Gay literature’s new wrinkle

Nobel-winner Herta Müller has written a dazzling new gay novel. Does it matter that she's heterosexual?

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Gay literature's new wrinkle (Credit: iStockphoto/RapidEye)

This week sees the publication of “The Hunger Angel,” by the Romanian-born German author Herta Müller. It’s her first novel to appear in English since she won the Nobel Prize three years ago, and the book, set in a Soviet labor camp in the years after World War II, arrives in America trailing behind it a passel of rave reviews in the European press: a masterpiece, they say, to be put next to Solzhenitsyn or Primo Levi.

But, more quietly, “The Hunger Angel” is something else – a major addition to the tradition of gay literature, and a rare evocation of gay life in the war years and after. Leo, the narrator, is just a teenager when he’s deported from Romania to the Ukraine, but he has already had his first “strange, filthy, shameless and beautiful” assignations in the town park and the local bathhouse. At first he sees his deportation as a welcome escape from his Nazi-supporting father, and a mercy for the mother he truly loves, for in his own eyes he is a double disgrace: not just gay, but an ethnic German who sleeps with Romanians. In the camp, hunger becomes all-consuming, and he longs for home, but he also watches fellow skin-and-bones detainees sneak off to an industrial wreck for sex and knows, “If I’d been caught in the camp I’d be dead.” “The Hunger Angel” lets a gay man embody universal themes of suffering and endurance but also captures the unique contradictions of gay desire – a substantial accomplishment, and one that’s even more impressive because Herta Müller is a straight woman.

Müller is part of a small but growing number of heterosexual writers publishing novels that not only include gay characters as central parts of their narrative, but are largely about gayness itself. It’s a trend that suggests that homosexuality may no longer be the taboo it once was, for writers — and for readers.

These days, in American and British fiction, at least, it’s no longer uncommon for straight writers to feature gay characters in a novel. Think of Claire Messud, whose “The Emperor’s Children” examines a young gay writer’s friendship with his two best friends, both straight women. Or read Jennifer Egan’s “A Visit From the Goon Squad,” which features a young gay kid experimenting first with drugs, then with sex. More recently, Chad Harbach in “The Art of Fielding” didn’t just feature a gay and decidedly not butch baseball player, but a 60-something, theretofore straight college president who falls in love with him. (These examples all feature gay men, obviously: Straight writers’ interest in lesbians is usually less edifying, as any gay person who endured Philip Roth’s “The Humbling” will remind you.)

Yet while straight writers now include gay characters as a matter of course, putting gay people at the center of a book remains all too rare. Gay characters can help straight writers write a book of larger scope, but a novel that concentrates on gay characters is automatically “gay fiction” – and that, sadly, still puts readers off. Gay novelists know all too well that without the right promotion, their books can end up relegated to the “LGBT interest” section of the bookshop, somewhere between the Spartacus travel guide and “Homosex: 60 Years of Gay Erotica.” (If, that is, the bookshop even stocks gay books; if, moreover, the bookshop hasn’t gone out of business.)

For straight writers, taking on gay subjects isn’t just an imaginative risk, it’s a commercial one. And therefore the list of examples is brief, but even so, they suggest that reader opposition to gay-themed books is on the wane. Although fantasy and science-fiction writers may have taken earlier steps, it wasn’t until the 1990s, with Pat Barker’s Regeneration trilogy, that a straight writer saw major success with gay literary fiction on both commercial and critical terms. The Regeneration trilogy,  with its cast of both real and fictional characters during World War I, had a built-in audience among British readers who grew up reading poets like Siegfried Sassoon or Wilfred Owen. Yet on the first pages of “The Eye in the Door,” the middle book, they were plunged into a rough (and fantastically hot) sex scene between two officers of different class backgrounds, complete with war wounds from Passchendaele and bedside Vaseline. “The Eye in the Door” goes on to detail the horrible persecution of gays in the British civil service, sometimes even by closeted gay men themselves, while in “The Ghost Road,” the last novel of the series and the one for which Barker won the Booker Prize, Sassoon, Owen and fictitious soldiers spend page after page thinking about their desire for men, and about the gaps between the military’s sometimes surprising tolerance and the cruelties of civilian life.

You see similar contrasts of confidence and doubt, narcissism and self-loathing, in Annie Proulx’s short stories, most famously “Brokeback Mountain.” The subsequent film was anxiously promoted as a “universal” love story, but Proulx insists that her two ranchers aren’t any old star-crossed lovers, and that gay desire has a special character. Ennis and Jack aren’t just incapable of having their love accepted by society; much more fundamentally, they hate themselves for loving who they love. Proulx told the Paris Review that she now gets fan mail from readers who have rewritten “Brokeback Mountain” with a happy ending, like the stale 18th-century tradition of letting a victorious Hamlet marry a not-drowned Ophelia. “They can’t understand that the story isn’t about Jack and Ennis,” Proulx lamented. “It’s about homophobia; it’s about a social situation.”

Homophobia is naturally a major theme in straight-written gay fiction, but it’s not all about tears and the law. In “Call Me By Your Name,” from 2007, the straight writer André Aciman looked at the enduring power of first love through a teenager’s overwhelming desire for another man, complete with lashings of sex in the forest, at the sea, and in the streets of Rome. (You will never eat a peach again without thinking about what those two guys do to a piece of fruit.) Straight novelists are even beginning to write about gay history, and in particular HIV/AIDS. Tristan Garcia’s “Hate: A Romance,” co-translated by the Paris Review editor Lorin Stein, examined not only the devastation of the first years of the disease, but the virulent debates between proponents of safe sex and more radical gay activists who see barebacking as a political act. That is the sort of thing even many gay writers are not yet ready to discuss.

It can only be a good thing that the terms of gay fiction are expanding to include not only more readers but more writers. Yet gays have been writing about straight people for hundreds of years, and while straight writers who write gay fiction are celebrated for taking a risk and for imagining something beyond their own experience, gay and lesbian writers who do the opposite, such as Colm Tóibín in “Brooklyn” or Sarah Waters in “The Little Stranger,” don’t really get the same credit. Perhaps this is because straight love and desire is omnipresent; perhaps, more homophobically, it’s because we still think gay writers “naturally” have such powers of imagination. Either way, while the situation has improved, gay fiction still suffers from ghettoization, and while straight writers may be mindful of the risks they take in depicting a minority to which they don’t belong, gays who turn to straight subjects can find the new, larger audience for their books bewildering. Michael Cunningham observed as much back in 2000, when he was asked about the success of “The Hours.” “I can’t help but notice,” said Cunningham, “that when I finally write a book in which there are no men sucking each other’s dicks, I suddenly win the Pulitzer Prize.”

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Jason Farago is a regular contributor to the Guardian and writes criticism for the London Review of Books, n+1, Frieze and other publications. He is also editor of Art in Common, a blog on art and urban life.

Pulitzers snub fiction

No novel won the coveted prize this year, but does that mean nothing good was published?

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Pulitzers snub fictionDetails from the covers of "Train Dreams," "Swamplandia!" and "The Pale King"

The news that no Pulitzer Prize for fiction would be awarded this year came like a slap across the face to a book world still reeling from a Department of Justice suit filed against publishers trying to forestall an Amazon e-book monopoly. Double ouch! But does the Pulitzer snub mean that no good fiction was published in America last year?

I would (and have) argued otherwise, most strenuously; 2011 was an exceptional year for fiction, American and otherwise. I also suspect that the Pulitzer Board itself has not turned up its collective nose at every book produced by American novelists and short story writers in 2011. The Pulitzer Prize may wield far more clout with book buyers than any other American prize for fiction. It can turn an obscure title into a success and a modestly successful title into a bestseller. Readers take it seriously and snap up the books it honors by the thousands. But that doesn’t mean that the Pulitzer Prize for fiction doesn’t suffer from the same problems that afflict every literary prize, no matter its size or influence.

I have some insight into those problems because I served on the Pulitzer fiction jury two years ago. I can’t talk about my jury’s deliberations, however — that was part of the deal. I can tell you that choosing the winner of the Pulitzer Prize for fiction is a two-tier process, a fact that even people well-versed in the literary world tend to forget.

The first tier is the jury’s selection. Three jurors (usually an academic, a critic and a fiction writer) are responsible for wading through huge boxfuls of books. Anyone can submit his or her book to the Pulitzer competition for a small fee, and believe me: anyone does. We got hundreds and hundreds of them, including many self-published novels with titles like “The Bikinis of Alpha Centauri,” most of which read as if they’d been run through Google Translate into Farsi and then run back again into English before being committed to print.

From the many submissions, the jury picks three titles to recommend to the Pulitzer Board, and the board picks the actual winner, as well as selecting the winners of all the other Pulitzer Prizes. The board does have the option to select a title not on the jury’s list, but it rarely does so nowadays.

The heyday for picking no book at all was the 1970s, a time of considerable cultural upheaval and conflict. In 1971, the board rejected titles from Eudora Welty, Saul Bellow and Joyce Carol Oates. In 1974, a stellar jury consisting of Benjamin DeMott, Elizabeth Hardwick and Alfred Kazin (three titans of literary criticism) unanimously recommended that the prize go to Thomas Pynchon’s “Gravity’s Rainbow.” The Pulitzer Board dug in its heels and said no. In 1977, the last time the prize was not awarded, the jury favored ”A River Runs Through It” by Norman Maclean and the board shut them down.

Why? According to the critic and experimental novelist William Gass, who wrote a notorious diatribe on the subject, the Pulitzer Board’s taste is hopelessly mainstream, middlebrow and unadventurous. (In 1941, most of the board did pick Ernest Hemingway’s “For Whom the Bell Tolls,” but one member — who happened to be the president of Columbia University — put the kibosh on that because he considered the book immoral.) However, Gass’ complaint seems an absurd cavil to level against an institution whose power and influence resides precisely in the fact that it speaks to a broad audience.

The Pulitzer Board consists of working journalists and journalism professors, most with a deep respect for literature but relatively little familiarity with the literary world. This can be a strength and a weakness. The Pulitzer’s excellent record at singling out literary works that also appeal to a lot of readers is one reason why it has so much more influence than “insider” prizes like the National Book Award.

However, because the Pulitzer Board is fairly representative of educated Americans, it surely includes a lot of people who don’t really have time to read fiction — or, at least, literary fiction — anymore. Past boards might have been able to settle on a title that most of them had read even if it wasn’t offered as a finalist by the jury; reading at least a few of the “big” novels published during the year was something a lot more people did before the Internet and cable TV came along. In 21st-century America, the novel has become a marginalized and Balkanized art form, and even when avid fiction fans compare notes, they often find they’ve read nothing in common.

Chances are good that the three novels recommended by this year’s Pulitzer jury — “Swamplandia!” by Karen Russell, “Train Dreams” by Denis Johnson, and “The Pale King” by David Foster Wallace — are the only three serious new novels many of the board members read last year, apart, perhaps, from one or two others. These people are, after all, pretty busy doing things like editing the Denver Post and running the Columbia Graduate School of Journalism, jobs that are a lot more time-consuming than they used to be, as well as selecting the winners in the other Pulitzer categories.

By all accounts, the group could not reach a majority on any of the three titles recommended by the jury. It’s certainly unlikely that enough of them read fiction widely enough to agree on an alternate choice. In that, they truly are representative of American readers, and that bodes worse for our national literature than a year without a Pulitzer winner.

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com.

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