Bridge of Sighs by Richard Russo

The Barnes & Noble Review

After a lifetime lived in the same small upstate New York town, Lou C. Lynch, a deeply cautious and conventional man, is headed for a vacation in Italy. It's an improbable leap for this most improbable hero of Bridge of Sighs, but with Richard Russo -- master of blue-collar life (and a Pulitzer Prize winner, after all) -- at the helm, even the most oddball of setups can yield riches.

There's nothing much heroic about Lou, who was saddled with the unfortunate nickname "Lucy" during roll call on his first day of kindergarten. He's 60 years old now, large and soft, married for 40 years to his wife, Sarah. They own three small corner markets in Thomaston, a company town whose main industry, a tannery, has literally poisoned the soil they live on.

The Italy trip is Sarah's idea, and though Lou is outwardly willing, he's dreading it. Sure, he gets his passport and reads a guidebook or two, but he also chooses this time to start writing a memoir. It's here that we meet him, in the pages of his own book, in which he seeks to make sense of his life. There's nothing about his fussy, formal, and sometimes florid voice that can prepare us for the explosive mysteries his recollections expose.

Each question has multiple answers that, as they shape this novel's sweeping saga, force an examination of love and fate and destiny. Along the way, Russo introduces a dizzying number of characters. There's Lou's father, a cockeyed optimist, and his mother, forced into the thankless role of pragmatist. There's the enigma of Bobby's parents, a beaten-down wife and a sadistic husband. It's Sarah's father, a pot-smoking high school teacher, who cracks open the story -- and his students' minds -- with his bent and belligerent genius. Lou, an innocent, loves -- and mourns -- them all in his memoir. His inner voice, unlike his buffoonish exterior, reveals unexpected depth. "The loss of a place isn't really so different from the loss of a person," Lou writes. "Both disappear without permission, leaving the self diminished, in need of testimony and evidence."

Russo plays with time throughout Bridge of Sighs. He switches voices from young Lou to grown-up Lou, from grown-up Bobby to Bobby at 18 years old. It's a rare gift, to be able to tell a story backward and forward and sideways all at once. Keeping us balanced on the slender ledge of what was and what may be takes a master's skill, and Russo's got it. He lures you through each page, eager to see how the destinies of these very different people will collide. And collide they will, there's no mistaking Russo's intent. As the climax draws near, it feels like those delicious, vertiginous moments of ascent in a roller coaster, where all that's familiar slips away and there you are, flying through space, just that slender bar across your lap to keep you safe.

There are plenty of small, treasurable moments, too. Here's teenage Lou thinking about sex for perhaps the first time as he watches a couple of classmates leave his father's store.

"Let's go," Jerzy said, then hooked his index finger into the waistband of Karen's slacks and gave it a gentle tug. When the material stretched, I could see that his finger was between her bare skin and her underpants -- a gesture made even more staggering by the fact that she didn't seem to object. Sex, I thought, just that one word. The slender finger slipped down between her bare skin and panties meant sex. Russo's writing is so tidy and precise that when he carelessly repeats a word in a single sentence, it carries the shock of a misplayed chord. Twice, a fleeing woman's suitcase falls open to spill its secret contents into a public street. The shirts and bras and toothbrush and panties all get stuffed back in, "after which, of course, it wouldn't close." We get what it means -- that after a certain kind of breaking point, there's no going back -- but what's it mean to Russo that he plays the same scene twice?

From the Publisher

Louis Charles Lynch (also known as Lucy) is sixty years old and has lived in Thomaston, New York, his entire life. He and Sarah, his wife of forty years, are about to embark on a vacation to Italy. Lucy's oldest friend, once a rival for his wife's affection, leads a life in Venice far removed from Thomaston. Perhaps for this reason Lucy is writing the story of his town, his family, and his own life that makes up this rich and mesmerizing novel, interspersed with that of the native son who left so long ago and has never looked back.

Bridge of Sighs, from the beloved Pulitzer Prize-winning author of Empire Falls, is a moving novel about small-town America that expands Russo's widely heralded achievement in ways both familiar and astonishing.

The Washington Post - Ron Charles

Richard Russo was already the patron saint of small-town fiction, but with his new novel, Bridge of Sighs—his first since the Pulitzer Prize-winning Empire Falls—he's produced his most American story. Once again he places us in a finely drawn community that's unable to adjust to economic changes, and with insight and sensitivity he describes ordinary people struggling to get by. But more than ever before, Russo ties this novel to the oldest preoccupations of our national consciousness by focusing on the nature of optimism and the limits of self-invention…in the course of this enormous and enormously moving novel, I was continually seduced by Russo's insight and gentle humor, his ability to discern the ways we love and frustrate each other. Toward the end, before a trip to Boston, Lucy writes, "We will leave this small, good world behind us with the comfort of knowing it'll be here when we return." One sets down Russo's work with the same comforting reassurance.

The New York Times - Janet Maslin

It is not possible to describe what Mr. Russo does without letting the word "quirky" creep in. That's because so much of Bridge of Sighs concerns itself with oddball details, from petty rivalries between the Lynch and Marconi families to the Lynch in-house dispute about how to run a convenience store…But in the midst of these small matters, the big contours of Bridge of Sighs emerge. They are richly evocative and beautifully wrought, delivered with deceptive ease. Another of Mr. Russo's hallmarks is that wonderfully unfashionable gift for effortless storytelling on a sweeping, multigenerational scale…Some of this book's most memorable moments take the form of sharp, funny storytelling. Some emerge more amorphously through intuitive visions. And each of the main characters has a Bridge of Sighs lodged somewhere in his or her consciousness. Robert Noonan's arrives, unbidden, on one of his canvases. Sarah's also manifests itself through art. And Lucy's exists in the state of semiconsciousness into which he has crept fearfully since that childhood disturbance. It tempts him to get out of Thomaston. Even more persuasively, Mr. Russo tempts his readers to come in.

Publishers Weekly

The challenge facing those who perform Russo's novels is the self-effacing, low-key nature of his protagonists. The line between a faithful rendition of the character and a snoozer may be as narrow as the street that divides the rich from the poor in Russo's upstate New York town of Thomaston. Unfortunately, Morey's performance finds itself the poor side of the tracks. Lou C. ("Lucy") Lynch's narration of events is read in an even, objective tone as if Morey were reading the evening news on an amateur radio show. He does emphasize words and ideas, but the overall effect is monotonous and doesn't do justice to Russo's rich material. Morey's narrative voice for Bobby, Lucy's childhood friend and nemesis, is deeper but more of the same. Morey gives a bit more energy to the third narrator, Sarah, Lou's wife. The result is more soporific than a Thanksgiving turkey, and getting through Russo's sharp account of the factory towns he knows so well becomes more a chore than a pleasure. Simultaneous release with the Knopf hardcover (Reviews, Aug. 13). (Oct.)

Henry L. Carrigan Jr. - Library Journal

With the same humor and pathos that turned Empire Fallsand Straight Maninto best sellers, Russo's latest tale unravels the tangled skein of love, regret, hope, and longing that wraps itself around friends and family in a small upstate New York town. Russo's multigenerational tale follows the fortunes of two families, especially the careers of the respective sons. Although Louis Charles Lynch and Bobby Marconi come from very different backgrounds, they bond over Bobby's defense of Lou in elementary school. As they grow older, they drift apart, with Bobby changing his name to Robert Noonan and moving to Venice, where he becomes a world-famous artist. Louis stays in Thomaston, marries high school sweetheart Sarah (also an artist), and helps out his family in their grocery store. Although Louis reluctantly agrees to visit Venice with Sarah, several events converge to alter their plans (including Sarah and Bobby's possible love for each other), and their lives change in ways that neither could have anticipated. While Russo's tale gets off to a slow start and the attempt to tell the parallel stories of Louis and Bobby is not always successful, Russo's novel is nevertheless a winning story of the strange ways that parents and children, lovers and friends connect and thrive. [See Prepub Alert, LJ6/1/07.]

Kirkus Reviews

A dying town symbolizes arcs separately traced by people who abandon it and others who stubbornly stay home, believing change must be for the best, in Russo's (The Whore's Child: and Other Stories, 2005, etc.) crowded sixth novel. Its setting (fictional Thomaston in upstate New York) resembles that of both his early books set thereabouts (Mohawk, The Risk Pool) and his New England-based Pulitzer-winner Empire Falls. Thomaston is the site of the now-defunct tannery that had provided jobs and is now suspected of causing cancer. It's the hometown of Lou C. Lynch (tormented, inevitably, by the lasting nickname "Lucy") and his wife Sarah, now 60-ish and hoping to pass on their family's "empire" of convenience stores to the next generation. A narrative composed by Lou (about his hometown and himself) is juxtaposed with memories of his childhood and youth, and with a parallel narrative set in Venice, where the Lynches' childhood friend Bobby Marconi now lives as a gifted, renegade artist-and a cancer victim. Nobody now writing rivals Russo at untangling the knots of family connection, love and sexuality, ambition and compromise, fidelity and betrayal that link and afflict a formidable gallery of vividly observed, generously portrayed characters. Prominent among them: Lou's eternal-optimist father and namesake; his stoical mother Tessa; the lower-class boys who taunt and threaten him and the girls he turned to (and sometimes loved); and the luckless Marconis, victimized by a viciously abusive father. Every page bristles with life. True, many of the details and motifs (e.g., an embattled family business; prosperity transformed by inevitable change; a black-sheep sibling) closely echo the matter ofEmpire Falls. Nevertheless, this is a wise, uplifting book: a big-hearted, often comic, yet sturdily realistic testament to the resiliency of ordinary people who surprise us, and themselves, by coping, rebuilding and moving on. Rich, confounding and absorbing-utterly irresistible. First printing of 200,000

Product Details

• ISBN: 1400030900
  
• ISBN-13: 9781400030903
• Format: Paperback, 656pp
• Publisher: Knopf Publishing Group
• Pub. Date: August 2008
• Edition Description: Reprint
• Sales Rank: 1,500
• Series: Vintage Contemporaries Ser.

• Reading Group Guide
• Read an Excerpt
• Read a Sample Chapter

Reading Group Guide

ABOUT THE BOOK

Louis Charles “Lucy” Lynch has spent his whole life in Thomaston, a small town in upstate New York. He’s married to Sarah, the girl he fell in love with in high school, owns and operates three convenience stores, including the corner grocery he inherited from his parents, and is perfectly content with his well-established routines and the familiar rhythms of Thomaston. At the age of sixty, as he and Sarah plan their first-ever trip away from home, he looks back on his life, weaving memories into a history of his family and his town. He writes about his outgoing father, who believed fully in the American Dream and loved him unconditionally, and about his critical but caring mother, whose realistic view of life provided the necessary balance to his father’s naïveté and idealism. His descriptions of his childhood—first in the poorest section of Thomaston and later in the lower middle-class neighborhood where his father buys a modest home and a failing store—capture the small humiliations (like the acquisition of the nickname “Lucy”) and larger terrors of a lonely boy bullied by neighborhood toughs.

As Lucy reminisces, his thoughts inevitably turn to Bobby Marconi. Bobby is Lucy’s oldest friend; in high school, Sarah, Lucy, and Bobby hung out together at the Lynch’s store, an almost inseparable threesome. But Bobby had troubles that no amount of friendship could solve, and at eighteen he fled Thomaston forever. He’s changed his name to Robert Noonan and is now a world-renowned artist living in Venice. After years of sending newsy letters to him and receiving only minimal acknowledgment, Sarah and Lucy are planning to visit him on their trip. For all three, there are not only ties to rebind, but also questions to resolve.

QUESTIONS FOR DISCUSSION

1. Bridge of Sighs alternates two narratives: Lucy’s first-person memoir and the story of Robert Noonan. What are the advantages of this structure? How does it affect the way plot unfolds? Does it influence your impressions of the main characters?

2. How does Lucy’s description of Thomaston [pp.9–11] create an immediate sense of time and place? What details did you find particularly evocative? What does Lucy’s tone, as well as the way he presents various facts about Thomaston and its history, reveal about his perceptiveness and his intelligence?

3. Lucy says, “I’ve always known that there’s more going on inside me than finds its way into the world, but this is probably true of everyone. Who doesn’t regret that he isn’t more fully understood?” [p. 12]. To what extent does this feeling lie at the heart of his decision to write his book? Does it play a central role in memoir-writing in general? What else does Lucy hope to accomplish by recalling his past? At the beginning, does he see the dangers, as well as the benefits, of examining his life and the people and events that shaped him?

4. The horrific prank the neighborhood boys play on Lucy [pp. 21–30] triggers the first of many “spells” he will have throughout his life. What is the significance of his spells? What do they reveal about the emotional attachments, anxieties, and doubts that define him both as a child and as an adult?

5. Lucy makes many references to the pursuit of the American Dream and its implications within his own family and in society in general [pp. 52–55, 78, 92–93, for example]. In what ways did American attitudes in the postwar years embody both the best parts of our national character and its darker undercurrents? What incidents in the novel illuminate the uneasiness and enmity that results from the class, racial, and economic divisions in Thomaston? Do Lucy’s beliefs, judgments, and achievements (as a businessman and as a happily married husband and father) color his reconstruction of these events?

6. Unlike Lucy’s story, Noonan’s story is told in the third person. Is the change of voice a literary device, a way of adding variety to the novel, or does it serve another purpose? In what ways does it help to convey the basic difference between Lucy and Noonan and the way they see themselves and their place in the world? Compare the tone and language Russo uses in creating Lucy’s voice with the style he uses in his portraits of Noonan. What aspects of Noonan’s character and personality come to life in his conversations with his art dealer and his mistress [pp. 35–51]; his reactions to Lucy’s missives [pp. 131–134] and to Mr. Berg’s class in high school [pp. 310–314]; and, ultimately, his thoughts and behavior on arriving in New York [pp. 500—508].

7. Lucy and Bobby [p. 130 and p. 141–142 respectively] attempt to explain why their lives—and Sarah’s—have turned out they way they have. Do you agree with Lucy that “To see a life back to front, as everyone begins to do in middle age, is to strip it of its mystery and wrap it in inevitability, drama’s enemy”? To what extent does Bobby share this view? Why does Bobby see himself as being in control of his life in a way that neither Sarah nor Lucy is? Is this a result of his background and the circumstances that forced him to prepare himself for a second act? From the evidence in the book, is it accurate to describe Lucy as a passive participant in life, and Bobby as a man who actively responds to events, rather than becoming a pawn—or a victim—of things beyond his control?

8. Tessa is the practical, steady member of the Lynch family. In what ways does her behavior reflect her own choices, needs, and desires, and in what ways are these determined by the time and place in which she lives? What qualities make her stand out, not only in Lucy’s eyes, but also within the community as a whole?

9. Does Lucy’s identification with his father distort his image of his mother and his understanding of her strengths and her weaknesses? Beyond her immediate anger, what drives her to tell Lucy, “I never wanted you to not to love your father. . . . I wanted you to love me. . . . Did it ever occur to you, even once during all those years, that you might have taken my side? That I might have needed a friend?” [p. 217]? Is this a valid criticism, or is Tessa herself responsible, either inadvertently or intentionally, for the differences between Lucy’s relationships with each parent?

10. Sarah comes from an unconventional family, especially in the context of Thomaston. Is her ability to deal with the eccentricities of her parents and the summer/winter living arrangements they established unusual? In what ways does she not only adapt to but also benefit from the very things that set her apart? Is her attraction to the Lynches in part a reaction to her dysfunctional family?

11. Are Mr. Berg’s obsessions—with perpetuating his image as a rebel, with the “great” book he is writing, and with his failed marriage—sympathetically drawn? What is the significance of the fact that he is Jewish? What biases, both good and bad, do the people of Thomaston (including Lucy) have about Jews and what impact does this have on Berg and his reputation within the community?

12. What role does her mother play in Sarah’s sense of self? What are the implications of her views on marriage [p.326]? Do they influence Sarah’s feelings about her own marriage and that of her in-laws? Why is Sarah drawn back to the home she shared with her mother when she faces a crisis in her relationship with Lucy [pp. 464–499]? What does she learn by revisiting the past?

13. What traits do Tessa and Sarah share? In what ways do their marriages mirror one another? Do you think either—or both—foolishly gave up their own dreams and desires, sacrificing a life of adventure and sexual passion for the love and security of a “good” man? Behind their apparent contentment, are there indications that they regret the choices they made?

14. The Bridge of Sighs in Venice connects the Doge Palace to an adjacent prison, and, as Lucy relates, “Crossing this bridge, the convicts—at least the ones without money or influence—came to understand that all hope was lost” [p. 320]. How does the historical function of the bridge, as well as the myths surrounding it, relate to characters’ lives? Why has Russo chosen it as the title of the novel?

15. Does the ending bring the various threads of the novel to a satisfactory conclusion? What would have happened if Lucy, Sarah, and Noonan had met again after so many years? In what ways are their memories and imaginings a more powerful—and truer—version of reality?

16. In an interview Russo said, “The future and the past are repeatedly getting mixed up in people’s minds. They think that which is gone is going to come back” (Powells.com). Which characters Bridge of Sighs are particularly prone to getting the past and the future mixed up? Do any of the characters fully escape this way of thinking?

17. Richard Russo has written about small towns throughout his career. What are some similarities between Bridge of Sighs and previous novels like Empire Falls and Nobody’s Fool? In what ways does Bridge of Sighs enhance and expand the portrait of America that is so central to Russo’s writing?

Read an Excerpt

Berman Court

First, the facts.

My name is Louis Charles Lynch. I am sixty years old, and for nearly forty of those years I’ve been a devoted if not terribly exciting husband to the same lovely woman, as well as a doting father to Owen, our son, who is now himself a grown, married man. He and his wife are childless and likely, alas, to so remain. Earlier in my marriage it appeared as if we’d be blessed with a daughter, but a car accident when my wife was in her fourth month caused her to miscarry. That was a long time ago, but Sarah still thinks about the child and so do I.

Perhaps what’s most remarkable about my life is that I’ve lived all of it in the same small town in upstate New York, a thing unheard of in this day and age. My wife’s parents moved here when she was a little girl, so she has few memories before Thomaston, and her situation isn’t much different from my own. Some people, upon learning how we’ve lived our lives, are unable to conceal their chagrin on our behalf, that our lives should be so limited, as if experience so geographically circumscribed could be neither rich nor satisfying. When I assure them that it has been both, their smiles suggest we’ve been blessed with self-deception by way of compensation for all we’ve missed. I remind such people that until fairly recently the vast majority of humans have been circumscribed in precisely this manner and that lives can also be constrained by a great many other things: want, illness, ignorance, loneliness and lack of faith, to name just a few. But it’s probably true my wife would have traveled more if she’d marriedsomeone else, and my unwillingness to become the vagabond is just one of the ways I’ve been, as I said, an unexciting if loyal and unwavering companion. She’s heard all of my arguments, philosophical and other, for staying put; in her mind they all amount to little more than my natural inclination, inertia rationalized. She may be right. That said, I don’t think Sarah has been unhappy in our marriage. She loves me and our son and, I think, our life. She assured me of this not long ago when it appeared she might lose her own and, sick with worry, I asked if she’d regretted the good simple life we’ve made together.

Though our pace, never breakneck, has slowed recently, I like to think that the real reason we’ve not seen more of the world is that Thomaston itself has always been both luxuriant and demanding. In addition to the corner store we inherited from my parents, we now own and operate two other convenience stores. My son wryly refers to these as “the Lynch Empire,” and while the demands of running them are not overwhelming, they are relentless and time-consuming. Each is like a pet that refuses to be housebroken and resents being left alone. In addition to these demands on my time, I also serve on a great many committees, so many, in fact, that late in life I’ve acquired a nickname, Mr. Mayor—a tribute to my civic-mindedness that contains, I’m well aware, an element of gentle derision. Sarah believes that people take advantage of my good nature, my willingness to listen carefully to everyone, even after it’s become clear they have nothing to say. She worries that I often return home late in the evening and then not in the best of humors, a natural result of the fact that the civic pie we divide grows smaller each year, even as our community’s needs continue dutifully to grow. Every year the arguments over how we spend our diminished and diminishing assets become less civil, less respectful, and my wife believes it’s high time for younger men to shoulder their fair share of the responsibility, not to mention the attendant abuse. In principle I heartily agree, though in practice I no sooner resign from one committee than I’m persuaded to join another. And Sarah’s no one to talk, serving as she has, until her recent illness, on far too many boards and development committees.

Be all that as it may, the well-established rhythms of our adult lives will soon be interrupted most violently, for despite my inclination to stay put, we are soon to travel, my wife and I. I have but one month to prepare for this momentous change and mentally adjust to the loss of my precious routines—my rounds, I call them—that take me into every part of town on an almost daily basis. Too little time, I maintain, for a man so set in his ways, but I have agreed to all of it. I’ve had my passport photo taken, filled out my application at the post office and mailed all the necessary documents to the State Department, all under the watchful eye of my wife and son, who seem to believe that my lifelong aversion to travel might actually cause me to sabotage our plans. Owen in particular sustains this unkind view of his father, as if I’d deny his mother anything, after all she’s been through. “Watch him, Ma,” he advises, narrowing his eyes at me in what I hope is mock suspicion. “You know how he is.”

Italy. We will go to Italy. Rome, then Florence, and finally Venice.

No sooner did I agree than we were marooned in a sea of guidebooks that my wife now studies like a madwoman. “Aqua alta,” she said last night after she’d finally turned off the light, her voice near and intimate in the dark. She found my hand and gave it a squeeze under the covers. “In Venice there’s something called aqua alta. High water.”

“How high?” I said.

“The calles flood.”

“What’s a calle?”

“If you’d do some reading, you’d know that streets in Italy are called calles.”

“How many of us need to know that?” I asked her. “You’re going to be there, right? I’m not going alone, am I?”

“When the aqua alta is bad, all of St. Mark’s is underwater.”

“The whole church?” I said. “How tall is it?”

She sighed loudly. “St. Mark’s isn’t a church. It’s a plaza. The plaza of San Marco. Do you need me to explain what a plaza is?”

Actually, I’d known that calles were streets and hadn’t really needed an explanation of aqua alta either. But my militant ignorance on the subject of all things Italian has quickly become a game between us, one we both enjoy.

“We may need boots,” my wife ventured.

“We have boots.”

“Rubber boots. Aqua alta boots. They sound a siren.”

“If you don’t have the right boots, they sound a siren?”

She gave me a swift kick under the covers. “To warn you. That the high water’s coming. So you’ll wear your boots.”

“Who lives like this?”

“Venetians.”

“Maybe I’ll just sit in the car and wait for the water to recede.”

Another kick. “No cars.”

“Right. No cars.”

“Lou?”

“No cars,” I repeated. “Got it. Calles where the streets should be. No cars in the calles, though, not one.”

“We haven’t heard back from Bobby.”

Our old friend. Our third musketeer from senior year of high school. Long, long gone from us. She didn’t have to tell me we hadn’t heard back. “Maybe he’s moved. Maybe he doesn’t live in Venice anymore.”

“Maybe he’d rather not see us.”

“Why? Why would he not want to see us?”

I could feel my wife shrug in the dark, and feel our sense of play running aground. “How’s your story coming?”

“Good,” I told her. “I’ve been born already. A chronological approach is best, don’t you think?”

“I thought you were writing a history of Thomaston,” she said.

“Thomaston’s in it, but so am I.”

“How about me?” she said, taking my hand again.

“Not yet. I’m still just a baby. You’re still downstate. Out of sight, out of mind.”

“You could lie. You could say I lived next door. That way we’d always be together.” Playful again, now.

“I’ll think about it,” I said. “But the people who actually lived next door are the problem. I’d have to evict them.”

“I wouldn’t want you to do that.”

“It is tempting to lie, though,” I admitted.

“About what?” She yawned, and I knew she’d be asleep and snoring peacefully in another minute or two.

“Everything.”

“Lou?”

“What.”

“Promise me you won’t let it become an obsession.”

It’s true. I’m prone to obsession. “It won’t be,” I promised her.

But I’m not the only reason my wife is on guard against obsession. Her father, who taught English at the high school, spent his summers writing a novel that by the end had swollen to more than a thousand single-spaced pages and still with no end in sight. I myself am drawn to shorter narratives. Of late, obituaries. It troubles my wife that I read them with my morning coffee, going directly to that section of the newspaper, but turning sixty does that, does it not? Death isn’t an obsession, just a reality. Last month I read of the death—in yet another car accident—of a man whose life had been intertwined with mine since we were boys. I slipped it into the envelope that contained my wife’s letter, the one that announced our forthcoming travels, to our old friend Bobby, who will remember him well. Obituaries, I believe, are really less about death than the odd shapes life takes, the patterns that death allows us to see. At sixty, these patterns are important.

“I’m thinking fifty pages should do it. A hundred, tops. And I’ve already got a title: The Dullest Story Ever Told.”

When she had no response to this, I glanced over and saw that her breathing had become regular, that her eyes were closed, lids fluttering.

It’s possible, of course, that Bobby might prefer not to see us, his oldest friends. Not everyone, Sarah reminds me, values the past as I do. Dwells on it, she no doubt means. Loves it. Is troubled by it. Alludes to it in conversation without appropriate transition. Had I finished my university degree, as my mother desperately wanted me to, it would have been in history, and that might have afforded me ample justification for this inclination to gaze backward. But Bobby—having fled our town, state and nation at eighteen—may have little desire to stroll down memory lane. After living all over Europe, he might well have all but forgotten those he fled. I can joke about mine being “the dullest story ever told,” but to a man like Bobby it probably isn’t so very far from the truth. I could go back over my correspondence with him, though I think I know what I’d find in it—polite acknowledgment of whatever I’ve sent him, news that someone we’d both known as boys has married, or divorced, or been arrested, or diagnosed, or died. But little beyond acknowledgment. His responses to my newsy letters will contain no requests for further information, no Do you ever hear from so-and-so anymore? Still, I’m confident Bobby would be happy to see us, that my wife and I haven’t become inconsequential to him.

Why not admit it? Of late, he has been much on my mind.

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