The World According to Garp

duck, for Helen Holm. And although Garp wasn't writing, he seemed, to Helen, to be happy. Helen read in the evenings, and Garp watched TV.

Garp's work had developed a curious reputation, not altogether unlike what he would have wanted for himself, and even stranger than John Wolf had imagined. Although it embarrassed Garp and John Wolf to see how politically The World According to Bensenhaver was both admired and despised, the book's reputation had caused readers, even if for the wrong reasons, to return to Garp's earlier work. Garp politely refused invitations to speak at colleges, where he was wanted to represent one side or another of so-called women's issues; also, to speak on his relationship to his mother and her work, and the “sex roles” he ascribed to various characters in his books. “The destruction of art by sociology and psychoanalysis,” he called it. But there were an almost equal number of invitations for him simply to read from his own fiction; an occasional one or two of these—especially if it was somewhere Helen wanted to go—he accepted.

Garp was happy with Helen. He wasn't unfaithful to her, anymore; that thought seldom occurred to him. It was perhaps his contact with Ellen James that finally cured him of ever looking at young girls in that way. As for other women—Helen's age, and older—Garp exercised a willpower that was not especially difficult for him. Enough of his life had been influenced by lust.

Ellen James, who was eleven when she was raped and untongued, was nineteen when she moved in with the Garps. She was immediately an older sister to Duncan, and a fellow member of the maimed society to which Duncan shyly belonged. They were so close. She helped Duncan with his homework, because Ellen James was very good at reading and writing. Duncan interested Ellen in swimming, and in photography. Garp built them a darkroom in the Steering mansion, and they spent hours in the dark, developing and developing—Duncan's ceaseless babble, concerning lens openings and light, and the wordless oooh's and aaah's of Ellen James.

Helen bought them a movie camera, and Ellen and Duncan wrote a screenplay together and acted in their own movie—the story of a blind prince whose vision is partially restored by kissing a young cleaning woman. Only one of the prince's eyes is restored to sight because the cleaning woman allows the prince only to kiss her on the cheek. She is embarrassed to let anyone kiss her on the lips because she has lost her tongue. Despite their handicaps, and their compromises, the young couple marries. The involved story is told through pantomime and subtitles, which Ellen wrote. The best thing about the film, Duncan would say later, is that it's only seven minutes long.

Ellen James was also a great help to Helen with baby Jenny. Ellen and Duncan were expert baby-sitters with the girl, whom Garp took to the wrestling room on Sunday afternoons; there, he claimed, she would learn to walk and run and fall without hurting herself, although Helen claimed that the mat would give the child the misconception that the world underfoot felt like a barely firm sponge.

“But that is what the world does feel like,” Garp said.

Since he had stopped writing, the only ongoing friction in Garp's life concerned his relationship with his best friend, Roberta Muldoon. But Roberta was not the source of the friction. When Jenny Fields was dead and gone, Garp discovered that her estate was tremendous, and that Jenny, as if to plague her son, had designated him to be the executor of her last wishes for her fabulous loot and the mansion for wounded women at Dog's Head Harbor.

“Why me?” Garp had howled. “Why not you?” Garp yelled at Roberta. But Roberta Muldoon was rather hurt that it hadn't been her.

“I can't imagine. Why you, indeed?” Roberta admitted. “Of all people.”

“Mom was out to get me,” Garp decided.

“Or she was out to make you think,” Roberta suggested. “What a good mother she was!”

“Oh boy,” Garp said.

For weeks he puzzled over the single sentence that stated Jenny's intentions for the spending of her money and the use of her enormous seacoast house.

I want to leave a place where worthy women can go to collect themselves and just be themselves, by themselves.

“Oh boy,” Garp said.

“A kind of foundation?” Roberta guessed.

“The Fields Foundation,” Garp suggested.

“That's terrific!” Roberta said. “Yes, grants for women—and a place to go.”

“To go do what?” Garp said. “And grants for what?”

“To go get well, if they have to, or to go be by themselves, if that's what they need,” Roberta said. “And to write, if that's what they do—or paint.”

“Or a home for unwed mothers?” Garp said. “A grant for “getting well'? Oh boy.”

“Be serious,” Roberta said. “This is important. Don't you see? She wanted you to understand the need, she wanted you to have to deal with the problems.”

“And who decides if a woman is “worthy'?” Garp asked. “Oh boy, Mom!” he cried out. “I could wring your neck for this shit!”

“You decide,” Roberta said. “That's what will make you think.”

“How about you?” Garp asked. “This is your kind of thing, Roberta.”

Roberta was clearly torn. She shared with Jenny Fields the desire to educate Garp and other men concerning the legitimacy and complexity of women's needs. She also thought Garp would be rather terrible at this, and she knew she would do it very well.

“We'll do it together,” Roberta said. “That is, you're in charge, but I'll advise you. I'll tell you when I think you're making a mistake.”

“Roberta,” Garp said, “you're always telling me I'm making a mistake.”

Roberta, at her most flirtatious, kissed him on the lips and clubbed him on the shoulder—in both cases, so hard that he winced.

“Jesus,” Garp said.

“The Fields Foundation!” Roberta cried. “It's going to be wonderful.”

Thus was friction kept in the life of T. S. Garp, who without friction of some kind would probably have lost his senses and his grip upon the world. It was friction that kept Garp alive, when he wasn't writing; Roberta Muldoon and the Fields Foundation would provide him with friction, at the very least.

Roberta became the in-residence administrator of the Fields Foundation at Dog's Head Harbor; the house became, all at once, a writers' colony, a recovery center, and a birth-advisory clinic—and the few well-lit garret rooms provided light and solitude for painters. Once women knew that there was a Fields Foundation, there were many women who wondered who was eligible for aid. Garp wondered, too. All applicants wrote Roberta, who assembled a small staff of women who alternately liked and disliked Garp—but always argued with him. Together, twice a month, Roberta and her Board of Trustees would assemble in Garp's grouchy presence and choose among the applicants.

In good weather they sat in the balmy side-porch room of the Dog's Head Harbor estate, although Garp increasingly refused to go there. “All the weirdos-in-residence,” Garp told Roberta. “They remind me of other times.” So then they met at Steering, in the Steering family mansion, the wrestling coach's home, where Garp felt slightly more comfortable in the company of these fierce women.

He would have felt more comfortable, no doubt, to have met them all in the wrestling room. Though even there, Garp knew perfectly well, the former Robert Muldoon would have made Garp struggle for his every point.

Applicant No. 1,048 was named Charlie Pulaski.

“I thought they had to be women,” Garp said. “I thought there was at least one firm criterion.”

“Charlie Pulaski is a woman,” Roberta told Garp. “She's just always been called Charlie.”

“I should say that was enough to disqualify her,” someone said. It was Marcia Fox—a lean, spare poet with