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The Early Stories: 1953-1975

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The Early Stories: 1953-1975 Cover

 

 

Excerpt

Youll Never Know, Dear, How Much I Love You

Carnival! In the vacant lot behind the old ice plant! Trucks have been unloading all afternoon; the WhirloGig has been unfolded like a giant umbrella, they assembled the baby Ferris wheel with an Erector Set. Twice the trucks got stuck in the mud. Straw has been strewn everywhere. They put up a stage and strung lights. Now, now, gather your pennies; supper is over and an hour of light is left in the long summer day. See, Sammy Hunnenhauser is running; Gloria Gring and her gang have been there all afternoon, they never go home, oh hurry, let me go; how awful it is to have parents that are poor, and slow, and sad!

Fifty cents. The most Ben could beg. A nickel for every year of his life. It feels like plenty. Over the roof of crazy Mrs. Mofferts house, the Ferris wheel tints the air with pink, and the rim of this pink mixes in his excitement with the great notched rim of the coin sweating in his hand. This house, then this house, and past the ice plant, and he will be there. Already the rest of the world is there, he is the last, hurrying, hurrying, the balloon is about to take off, the Ferris wheel is lifting; only he will be left behind, on empty darkening streets.

Then there, what to buy? There are not so many people here. Grownups carrying babies mosey glassily on the straw walks. All the booth people, not really Gypsies, stare at him, and beckon weakly. It hurts him to ignore the man with the three old softballs, and the old cripple at the merry-go-round, and the fat lady with her plaster Marys, and the skeleton suspended behind a fountain of popcorn. He feels his walking past them as pain. He wishes there were more people here; he feels a fool. All of this machinery assembled to extract from him his pathetic fifty cents. He watches at a distance a thickset man in earnestly rolled-up shirtsleeves twirl a great tinselled wheel with a rubber tongue that patters slower and slower on a circle of nails until it stops between two, and the number there wins. Only a sailor and two boys in yellow silk high-school athletic jackets play. None win. The thick tattooed arm below the rolled-up shirtsleeve carefully sweeps their nickels from a long board divided and numbered as if for hopscotch. The high-school boys, with sideburns and spotty whiskers on their bright-pink jaws, put down nickels again leadenly, and this time the man spinning the wheel shouts when it stops, seems more joyful than they, and reaches into his deep apron pocket and pours before them, without counting, a perfect little slipping stack of nickels. Their gums showing as if at a dirty joke, the two boys turn—the shimmer on their backs darts and shifts in cool zs—and walk away, while the man is shouting, “Hey, uh winneh. Hey, uh winneh, evvybody wins.” His board is bare, and as his mouth continues to form the loud words his eyes lock Ben into a stare of heartbreaking brown blankness that seems to elucidate with paralyzing clarity Bens state: his dungarees, his fifty cents, his ten years, his position in space, and above the particulars the immense tinted pity, the waste, of being at one little place instead of everywhere, at any time. Then the man looks away, and twirls the wheel for his own amusement.

The fifty-cent piece feels huge to Bens fingers, a wide oppressive rigidity that must be broken, shattered into twinkling fragments, to merge in the tinsel and splinters of strewn straw. He buys, at the first stand he strikes, a cone of cotton candy, and receives, with the furry pink pasty uncoiling thing, a quarter, a dime, and a nickel: three coins, tripling his wealth.

Now people multiply, crowd in from the houses of the town, which stand beyond the lot on all sides in black forbidding silhouettes like the teeth of a saw. The lights go on; the faces of the houses flee. There is nothing in the lot but light, and at its core, on the stage, three girls wearing white cowboy hats and white spangled skirts and white boots appear, and a man also in white and bearing a white guitar strung with gold. The legs around Ben crush him toward the stage; the smell of mud mingles with the bright sight there. One of the girls coughs into the microphone and twists its neck, so a sharp whine pierces from the loudspeakers and cuts a great crescent through the crowd, leaving silence as harvest. The girls sing, toe-tapping gingerly: “The other night, dear, as I lay sleeping, I dreamt I held you in my arms.” The spangles on their swishing skirts spring prickles like tears in Bens eyes. The three voices sob, catch, twang, distend his heart like a rubber band at the highest pitch of their plaint. “—I was mistaken, and I hung my head, a-and cried.” And then the unbearable rising sugar of the chorus that makes his scalp so tight he fears his head will burst from sweet fullness.

The girls go on to sing other songs, less good, and then they give way to a thin old man in suspenders and huge pants he keeps snapping and looking down and whooping into. He tells horrible jokes that make the nice fat ladies standing around Ben—nice fat factory and dust-mop women that make him feel protected—shake with laughter. He fears their quaking, feels threatened from beneath, as if there is a treacherous stratum under this mud and straw. He wanders away, to let the words of “You Are My Sunshine” revolve in his head. “Please dont take my sunshine away.” Only the money in his pocket weighs him; get rid of it, and he will sail away like a dandelion seed.

He goes to the booth where the wheel is turning, and puts his nickel on the board in a square marked 7, and loses it.

He puts the dime there, and it too is taken away.

Squeezed, almost hidden, between the crusty trousered haunches of two adults, he puts down his quarter, as they do, on the inner edge, to be changed. The tattooed man comes along, picking up the quarters and pouring, with his wonderfully automatic fingers, the little slipping stacks of five nickels; Ben holds his breath, and to his horror feels his low face catch in the corner of the mans absent-minded eyes. The thick solemn body snags in its smooth progress, and Bens five nickels are raggedly spaced. Between the second and third there is a gap. A blush cakes Bens cheeks; his gray-knuckled fingers, as they push out a nickel, are trembling sideways at each other. But the man goes back, and spins the wheel, and Ben loses three nickels one after another. The twittering wheel is a moon-faced god; but Ben feels humanity clouding the space between him and it, which should be unobstructed. When the tattooed arm—a blue fish, an anchor, the queer word peace—comes to sweep in his nickels, he feels the stippled skin breathing thought, and lowers his head against the expected fall of words. Nothing is said, the man moves on, returns to the wheel; but Ben feels puzzled pressure radiating from him, and the pointed eyes of a man in a suit with chalk stripes who has come to stand at the far side of the stand intersect this expanding circle, and Ben, hurrying to pour his money down a narrowing crack, puts down his last two nickels, still on 7.

The rubber tongue leaps into pattering and as the wheel whirls the tattooed man leans backward to hear the one in chalk stripes talk; this ones tongue patters silently but a tiny motion of his smooth hand, simultaneous with a sideways stab of his eyes, is toward Ben.

The rubber tongue slows, flops, stops at 7—no, 8. He lost, and can leave. The floor of his stomach lifts queerly. “Hey, kid.” The man with terrible spoiled arms comes over. Ben feels that no matter how fast he would run those arms would stretch and snare him.

“Huh?”

“How old are you, kid?”

“Ten.”

“Whatsamatta with ya, ya daddy rich?”

A titter moves stiffly among the immense adult heads all around. Ben understands the familiar role, that he has undergone a hundred times with teachers and older boys, of being a comic prop. He understands everything, and wants to explain that he knows his eyes are moist and his cheeks red but that its because of joy, freedom, not because of losing. But this would be too many words; even the one-word answer “No” sticks to the roof of his mouth and comes loose with a faint tearing noise.

“Here.” With his exciting expert touch, the tattooed man flicks Bens two coins back across the painted number. Then he digs into his pocket. He comes up with the usual little stack of five, drops four, but holds the fifth delicately between the tips of two fingers and a thumb, hesitates so that Ben can reread peace in blue above his wrist, and then flips the fifth nickel up into his palm and thence down with a plunge into his dirty sagging apron pouch.

“Now move away from the board, kid, move away. Dont come back.”

Ben fumbles the coins into his hands and pushes away, his eyes screwed to the sharp edge of painted wood, and he shoulders blindly backward through the legs. Yet all the time, in the midst of the heat and water welling up from springs all over his body, he is figuring, and calculates hes been gypped. Forty: he had the quarter and dime and nickel, and they gave him back only six nickels: thirty. The injustice. They pretend hes too little to lose and then keep a dime. The waste. The lost dime seems a tiny hole through which everything in existence is draining. As he moves away, his wet knees jarring, trying to hide forever from every sailor and fat woman and high-schooler who witnessed his disgrace, the six nickels make a knobbed weight bumping his thigh through his pocket. The spangles, the splinters of straw and strings of light, the sawtooth peaks of houses showing behind the heads of grown-ups moving above the scent of grassy mud are hung like the needles of a Christmas tree with the transparent, tinted globes confusing his eyelashes.

Thus the world, like a jaded coquette, spurns our attempts to give ourselves to her wholly.

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myersr, December 26, 2007 (view all comments by myersr)
Updike is a favorite of mine. I grew up in Chester County, Pensylvania and certainly relate to his characters and setting. He is articulate and creates mood through a young man's eyes and experience. At 59 years of age, I often look back on my youth and see myself in these stories.

Each of the stories in "The Early Years" is an excursion to discover life, death, and the time in between. I teach College English and A+P is one my favorites. The rebellious youth standing before authority and "chucking it all" for what he "believes" is a right cause (the girls) evokes much discussion and comparison to my students' experiences.

These "Early years" are only a prelude to Updike's seminal work..."The Harry Angstrom-Rabbit series."

Bo
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Product Details

ISBN:
9781400040728
Subtitle:
1953-1975
Publisher:
Knopf
Author:
Updike, John
Location:
New York
Subject:
Literary
Subject:
Social life and customs
Subject:
United states
Subject:
Short Stories (single author)
Subject:
United States Social life and customs.
Subject:
General Fiction
Subject:
Literature-A to Z
Subject:
Stories (single author)
Copyright:
Edition Number:
1st ed.
Series Volume:
107-292
Publication Date:
October 21, 2003
Binding:
Hardback
Grade Level:
General/trade
Language:
English
Pages:
864
Dimensions:
9.46x6.62x1.83 in. 2.94 lbs.

Related Subjects

Fiction and Poetry » Literature » A to Z
Fiction and Poetry » Literature » Locked Case

The Early Stories: 1953-1975
0 stars - 0 reviews
$ In Stock
Product details 864 pages Alfred A. Knopf - English 9781400040728 Reviews:
"Review" by , "Reading the stories straight through reveals a striking thing, which is that you can read the stories straight through....Updike is a virtuoso, and The Early Stories is...an enormous showroom of Updike sentences, with their lovely curves and shiny details."
"Review" by , "They are mature pieces, and the collection contains several stories still considered masterpieces....[H]is ingenuity, scope, and heart extend far beyond the island of Manhattan."
"Review" by , "[L]anguage in all its fecundity is Updike's native country, and he is its patriot."
"Review" by , "Updike's famously elegant and evocative prose style apparently emerged full blown....This wonderful collection is arguably the best single-volume introduction to Updike's work available. Highly recommended."
"Review" by , "Updike unpeels the innocence from his generation one sentence at a time....Even when these literary shadows tint the prose, the territory is unquestionably Updike's..."
"Review" by , "[C]ompendious and highly uneven....[A] decidedly spotty production, filled indiscriminately with classic gems...clumsy apprentice works with creaky, contrived endings; and later ham-handed experimental efforts..."
"Review" by , "[Updike] stakes his first retrospective claim at greatness with [this] brick of a book....Aside from affirming Updike's skill and achievements, this collection illuminates several intriguing aspects of his writing."
"Synopsis" by , This grand collection of 103 stories gathers together almost all the short fiction that Updike published between 1953 and 1975, beginning with "Ace in the Hole" and ending with "Love Song for a Moog Synthesizer."
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