The Art of Fielding: A Novel (8 page)

He had also, from his first days on campus, fallen in love with Lake Michigan—having grown up in landlocked farmland, he was amazed by its vastness and the combination of its steadiness and its constant fluctuations. Walking along its shore called forth some of the same deep feelings that his reading of Melville did, and that reading explained and deepened his love of the water, which in turn deepened his love of the books. He resolved to get himself to sea. After graduation, he managed to display enough knowledge of marine biology to win an almost unpaid job—an internship, in today’s parlance—aboard a U.S. government ship bound for the South Pacific. For the next four years he saw much of the world, at least the watery parts, and learned how well Melville had captured the monotony-in-motion of life under sail. He woke in the night, every three hours, to record data from a dozen instruments. With the same regularity he recorded his lonely thoughts in graph-paper notebooks, trying as best he could to make them sound profound.

After those four years he returned to the Midwest. He’d turned twenty-five, the Age of Unfolding, and it was time to write a novel, the way his hero had. He moved to a cheap apartment in Chicago and set to work, but even as the pages accumulated, despair set in. It was easy enough to write a sentence, but if you were going to create a
work of art,
the way Melville had, each sentence needed to fit perfectly with the one that preceded it, and the unwritten one that would follow. And each of those sentences needed to square with the ones on either side, so that three became five and five became seven, seven became nine, and whichever sentence he was writing became the slender fulcrum on which the whole precarious edifice depended. That sentence could contain anything,
anything,
and so it promised the kind of absolute freedom that, to Affenlight’s mind, belonged to the artist and the artist alone. And yet that sentence was also beholden to the book’s very first one, and its last unwritten one, and every sentence in between. Every phrase, every word, exhausted him. He thought maybe the problem was the noise of the city, and his dull day job, and his drinking; he gave up his room and rented an outbuilding on an Iowa farm run by hippies. There, alone with his anxious thoughts, he felt much worse.

He returned to Chicago, got a job tending bar, resumed his reading. With each new writer he began at the beginning and proceeded to the end, just as he’d done with Melville. When he’d exhausted the American nineteenth century, he expanded his reach. By absorbing so many books he was trying to purge his own failure as a writer. It wasn’t working, but he feared what would happen if he stopped.

On his thirtieth birthday he borrowed a car and drove up to Westish. Professor Oxtin, thank God, was still alive and compos mentis. Affenlight, with a calm determination that stemmed from desperation, reminded the old man of the capstone that the Melville lecture had placed on his career, and of Oxtin’s failure to credit him in the
Atlantic
article. The old man smiled blandly, not quite willing to admit or refute the charge, and asked what Affenlight wanted.

Affenlight told him. The old professor lifted an eyebrow and walked him down to the campus watering hole. There, over beers, he administered an impromptu oral examination that ranged from Chaucer through Nabokov but dealt mainly with Melville and his contemporaries. Satisfied, perhaps even impressed, the old man placed the call.

That September Affenlight trimmed his beard, bought a suit, and began Harvard’s doctoral program in the History of American Civilization. There he became for the first time—excepting a few lucky moments on the football field—a star. Most of his fellow students were younger, and none had achieved so desperate a grasp on the literature of his chosen period. Affenlight could drink more coffee, not to mention whiskey, than the rest of them put together.
Monomaniacal,
they called him, an Ahab joke; and when he spoke in seminar—which he did incessantly, having suddenly much to say—they nodded their heads in agreement. Thirty-page papers rolled out of his typewriter in the time it had taken to write a single paragraph of his not-quite-forgotten novel.

At first, Affenlight felt uneasy about his newfound sense of ease. He considered himself a failed writer, nothing more, and there didn’t seem to be much honor or grandeur in having read some books. But soon he decided—whether because it was true or because he needed it to be true—that academia was a world worth conquering. There were fellowships to win, journals to publish in, famous professors to impress. Whatever he applied for, he got; whatever he hinted he might apply for, his classmates shied away from. His successes were social as well. He’d always been tall, square-shouldered, and striking; now he had a purpose, an aura, a name that preceded him.
The Cambridge ladies come and go / from Guert’s flat at 50 Bow.
That was another joke of his classmates, and it was true.

He wrote his dissertation in the kind of white heat in which he’d always imagined writing a novel—the kind of white heat in which his hero Melville, over six torrid months in a barn in Western Massachusetts, had written the greatest novel the world had ever seen. The dissertation, a study of the homosocial and the homoerotic in nineteenth-century American letters, turned into a book,
The Sperm-Squeezers
(1987), and the book turned into a sensation: academically influential, widely translated, and reviewed in the
Times
and
Time
(“witty and readable,” “augurs a new era of criticism,” “contains signs of genius”). It wasn’t
Moby-Dick,
but it sold more copies in its first year than The Book had, and it became a touchstone in the culture wars. At thirty Affenlight had been nobody; at thirty-seven he was debating Allan Bloom on CNN.

Just as abruptly, he’d become a father. While preparing the book for publication, he’d been dating a woman named Sarah Coowe, an infectious-disease specialist at MGH. They were evenly matched in many ways: sharp-dressed, sharp-tongued, and devoted to their careers and personal freedoms to the exclusion of any serious interest in so-called romance. They spent ten months together. A few weeks after they broke up—Sarah initiated the split—she called to say that she was pregnant. “It’s mine?” asked Affenlight. “He or she,” replied Sarah, “is mostly mine.”

They named the child Pella—that was Affenlight’s idea, though Sarah certainly had the final say. For those first couple of years, Affenlight conspired as often as he could to show up at Sarah and Pella’s Kendall Square townhouse with expensive takeout and a new toy. He was fascinated with his daughter, with the sheer reality of her, a beautiful something where before there’d been nothing. He hated kissing her good-bye; and yet he relished, couldn’t keep himself from relishing, the total quiet of his own townhouse when he walked in, the scattered books and papers and lack of baby-proofing.

Soon after Pella turned three, Sarah received a grant to go to Uganda, and Pella came to stay with Affenlight for the summer. In August came the news: Sarah’s jeep had rolled off an embankment, and she was dead. Pella was half an orphan, and he was a full-time father.

After a perfunctory stint as an assistant professor, during which a series of winks and perks from the administration kept Stanford and Yale at bay, Affenlight was awarded tenure. He never mustered another major project like
The Sperm-Squeezers,
but his lectures were the department’s most popular, and the grad students vied fiercely for his favor. He reviewed histories for
The New Yorker,
stockpiled teaching awards, and kept up with his reading. He became the head of the English Department and a fixture on the
Boston
magazine Most Eligible Bachelor list. Meanwhile he raised Pella, or at least stood by while Harvard raised her; the entire school seemed to consider her their charge. He sculled on the Charles to stay in shape. He took the Cambridge ladies to the opera. He thought he would do such things forever.

Then, in February of 2002, while Pella was in eighth grade, the phone in his office rang. Affenlight, rattled by what was proposed, dumped his espresso on a stack of senior theses. The interviews and vetting would take months, but that first phone call so unnerved him that he knew it was going to happen. Never again would he stride through the Yard with a graduate student at each elbow, extending the seminar as the sun went down. Never again would he hop the shuttle to LaGuardia just for kicks. Never again would his recent publication record bedevil his sleep. He was headed home.

7

G
uert Affenlight, sixty years old, president of Westish College, tapped an Italian loafer on the warped maple floorboards of his office on the ground floor of Scull Hall, swirled a last drop of light-shot scotch in his glass. On the love seat sat Bruce Gibbs, the chair of the trustees. It was the last afternoon of March, the eighth year of Affenlight’s tenure.

Besides Affenlight’s desk and the love seat, the room contained two wooden spindle-backed Westish-insignia chairs, two wooden filing cabinets, and a credenza devoted to dark liquor. The built-in floor-to-ceiling bookshelves were filled with leather-bound volumes of and about the American nineteenth century, a drab but lovely sea of browns and olives and faded blacks, alongside neat rows of navy binders and ledgers related to the business of Westish College, and the brushed-steel stereo through whose hidden speakers Affenlight listened to his favorite operas. He kept his more colorful collection of postwar theory and fiction upstairs in his study, along with the handful of truly valuable books he owned—early editions of
Walden, A Connecticut Yankee,
and a few minor Melville novels, as well as The Book. The room contained so many bookshelves that there was space for only one piece of art, a black-and-white handpainted sign Affenlight had commissioned years ago that constituted one of his prized possessions:
NO SUICIDES PERMITTED HERE
, it read,
AND NO SMOKING IN THE PARLOR
.

Gibbs’s walking stick, which he never called a cane, was propped on the love seat’s arm. He sank deeper into the leather, swirled the amber liquid in his tumbler, gazed down at the lone melting cube. “Peaty,” he said. “Nice.”

Affenlight’s scotch was long gone, but to pour another would be to encourage Gibbs to linger. The chill coming off the windowsill at his back reminded him how much he wanted to be out there, at the baseball diamond, before driving down to Milwaukee to pick up Pella from the airport.

Gibbs cleared his throat. “I’m confused, Guert. I thought we’d agreed to postpone new projects until we recapitalized. We got hammered in the markets, we’re hemorrhaging financial aid, and”—he met Affenlight’s eyes steadily—“there’s almost nothing coming in from donors.”

Affenlight understood the admonition. He was the fund-raiser, the face of the school; in his first years on the job he’d mounted the most successful capital campaign in Westish history. But the economy of recent years—the collapse, the crisis, the recession, whatever you called it—had both eroded those gains and frightened donors. His influence among the trustees, once almost boundless, was gently on the wane.

“And now,” Bruce went on, “suddenly you’re putting all these new initiatives on the table. Low-flow plumbing. A complete carbon inventory. Temperature setbacks. Guert, where is this crap coming from?”

“From the students,” said Affenlight. “I’ve been working closely with several student groups.” Really, he’d been working closely with one student group. Okay, really he’d been working closely with one student—the same student he wanted desperately to get down to the baseball diamond to see. But Gibbs didn’t need to know that. It was true enough that the students wanted to cut carbon.

“The
students,
” said Gibbs, “don’t quite understand the world. Remember when they made us divest from oil? Oil
is
money. They complain about tuition increases, and then they complain when the endowment earns money.”

“Cutting emissions will be a PR boon,” Affenlight said. “And it’ll save us tens of thousands on energy. Most of our benchmark schools are already doing it.”

“Listen to yourself. How can it be a PR boon if our benchmarks are already doing it? If we’re not first movers on this, then we’re back in the pack. There’s no PR in the pack. Might as well sit back and learn from their mistakes.”

“Bruce, the pack’s way out ahead of us. Ecological responsibility is basically an industry ante at this point. It’s becoming a top-five decision factor for prospective students. If we don’t recognize that, we’ll get hammered on every admissions tour till the cows come home.”

Gibbs sighed, stood up, and hobbled to the window. Management consulting terms like
industry ante
and
decision factor
were the glue of their relationship—Affenlight tried to learn as many of them as possible, and to intuit or invent the ones he hadn’t learned. Gibbs gazed out at the Melville statue that overlooked the lake. “If it’s a decision factor we’ll deal with it,” he said. “But I doubt we can afford it this year.”