American Pastoral

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Authors: Philip Roth
thought a niblick (which was what in those days they called the nine iron) was a hunk of schmaltz herring. Now I couldn't sleep—the last thing I could remember was the parking valet bringing my car around to the steps of the portico, and the reunion's commander in chief, Selma Bresloff, kindly asking if I'd had a good time, and my telling her, "It's like going out to your old outfit after Iwo Jima."
    Around three A.M., I left my bed and went to my desk, my head vibrant with the static of unelaborated thought. I wound up working there until six, by which time I had got the reunion speech to read as it appears above. Only after I had built to the emotional peroration culminating in the word "astonishing" was I at last sufficiently unastonished by the force of my feelings to be able to put together a couple of hours of sleep—or something resembling sleep, for, even half out of it, I was a biography in perpetual motion, memory to the marrow of my bones.
    Yes, even from as benign a celebration as a high school reunion it's not so simple to instantaneously resume existence back behind the blindfold of continuity and routine. Perhaps if I were thirty or forty, the reunion would have faded sweetly away in the three hours it took me to drive home. But there is no easy mastery of such events at sixty-two, and only a year beyond cancer surgery. Instead of recapturing time past, I'd been captured by it in the present, so that passing seemingly out of the world of time I was, in fact, rocketing through to its secret core.
    For the hours we were all together, doing nothing more than hugging, kissing, kibitzing, laughing, hovering over one another recollecting the dilemmas and disasters that hadn't in the long run made a damn bit of difference, crying out, "Look who's here!" and "Oh, it's been a long time" and "You remember me? I remember you," asking each other, "Didn't we once...," "Were you the kid who...," commanding one another—with those three poignant words I heard people repeat all afternoon as they were drawn and tugged into numerous conversations at once—"Don't go away!"...and, of course, dancing, cheek-to-cheek dancing our outdated dance steps to a "one-man band," a bearded boy in a tuxedo, his brow encircled with a red bandanna (a boy born at least two full decades after we'd marched together out of the school auditorium to the rousing recessional tempo of
Iolanthe),
accompanying himself on a synthesizer as he imitated Nat "King" Cole, Frankie Laine, and Sinatra—for those few hours time, the chain of time, the whole damn drift of everything called time, had seemed as easy to understand as the dimensions of the doughnut you effortlessly down with your morning coffee. The one-man band in the bandanna played "Mule Train" while I thought, The Angel of Time is passing over us and breathing with each breath all that we've lived through—the Angel of Time unmistakably as present in the ballroom of the Cedar Hill Country Club as that kid doing "Mule Train" like Frankie Laine. Sometimes I found myself looking at everyone as though it were still 1950, as though "1995" were merely the futuristic theme of a senior prom that we'd all come to in humorous papier-mache masks of ourselves as we might look at the close of the twentieth century. That afternoon time had been invented for the mystification of no one but us.
    Inside the commemorative mug presented by Selma to each of us as we were departing were half a dozen little
rugelach
in an orange tissue-paper sack, neatly enclosed in orange cellophane and tied shut with striped curling ribbon of orange and brown, the school colors. The
rugelach,
as fresh as any I'd ever snacked on at home after school—back then baked by the recipe broker of her mahjongg club, my mother—were a gift from one of our class members, a Teaneck baker. Within five minutes of leaving the reun ion, I'd undone the double wrapping and eaten all six
rugelach,
each a snail of sugar-dusted pastry dough, the

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