The Interestings
Authors: Meg Wolitzer
Tags: #Fiction, #Literary, #Contemporary Women, #Family Life, #General Fiction
ALSO BY MEG WOLITZER
The Uncoupling
The Ten-Year Nap
The Position
The Wife
Surrender, Dorothy
This Is Your Life
Hidden Pictures
Sleepwalking
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Copyright © 2013 by Meg Wolitzer
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Published simultaneously in Canada
Grateful acknowledgment is made to reprint from “What Have They Done to the Rain” by Malvina Reynolds. Words and music by Malvina Reynolds. Copyright © 1962 Schroder Music Co. (ASCAP). Renewed 1992. Used by permission. All rights reserved.
ISBN 978-1-101-60203-4
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.
For my parents, who sent me there
And for Martha Parker, whom I met there
While riding on a train goin’ west
I fell asleep for to take my rest
I dreamed a dream that made me sad
Concerning myself and the first few friends I had
—Bob Dylan, “Bob Dylan’s Dream”
. . . to own only a little talent . . . was an awful, plaguing thing . . . being only a little special meant you expected too much, most of the time.
—Mary Robison, “Yours”
Moments of Strangeness
O
n a warm night in early July of that long-evaporated year, the Interestings gathered for the very first time. They were only fifteen, sixteen, and they began to call themselves the name with tentative irony. Julie Jacobson, an outsider and possibly even a freak, had been invited in for obscure reasons, and now she sat in a corner on the unswept floor and attempted to position herself so she would appear unobtrusive yet not pathetic, which was a difficult balance. The teepee, designed ingeniously though built cheaply, was airless on nights like this one, when there was no wind to push in through the screens. Julie Jacobson longed to unfold a leg or do the side-to-side motion with her jaw that sometimes set off a gratifying series of tiny percussive sounds inside her skull. But if she called attention to herself in any way now, someone might start to wonder why she was here; and really, she knew, she had no reason to be here at all. It had been miraculous when Ash Wolf had nodded to her earlier in the night at the row of sinks and asked if she wanted to come join her and some of the others later.
Some of the others.
Even that wording was thrilling.
Julie had looked at her with a dumb, dripping face, which she then quickly dried with a thin towel from home.
Jacobson,
her mother had written along the puckered edge in red laundry marker in a tentative hand that now seemed a little tragic. “Sure,” she had said, out of instinct. What if she’d said
no
? she liked to wonder afterward in a kind of strangely pleasurable, baroque horror. What if she’d turned down the lightly flung invitation and went about her life, thudding obliviously along like a drunk person, a blind person, a moron, someone who thinks that the small packet of happiness she carries is enough. Yet having said “sure” at the sinks in the girls’ bathroom, here she was now, planted in the corner of this unfamiliar, ironic world. Irony was new to her and tasted oddly good, like a previously unavailable summer fruit. Soon, she and the rest of them would be ironic much of the time, unable to answer an innocent question without giving their words a snide little adjustment. Fairly soon after that, the snideness would soften, the irony would be mixed in with seriousness, and the years would shorten and fly. Then it wouldn’t be long before they all found themselves shocked and sad to be fully grown into their thicker, finalized adult selves, with almost no chance for reinvention.
That night, though, long before the shock and the sadness and the permanence, as they sat in Boys’ Teepee 3, their clothes bakery sweet from the very last washer-dryer loads at home, Ash Wolf said, “Every summer we sit here like this. We should call ourselves something.”
“Why?” said Goodman, her older brother. “So the world can know just how unbelievably
interesting
we are?”
“We could be called the Unbelievably Interesting Ones,” said Ethan Figman. “How’s that?”
“The Interestings,” said Ash. “That works.”
So it was decided. “From this day forward, because we are clearly the most interesting people who ever fucking
lived
,” said Ethan, “because we are just so fucking
compelling
, our brains swollen with intellectual thoughts, let us be known as the Interestings. And let everyone who meets us fall down dead in our path from just how fucking interesting we are.” In a ludicrously ceremonial moment they lifted paper cups and joints. Julie risked raising her cup of vodka and Tang—“V&T,” they’d called it—nodding gravely as she did this.
“Clink,” Cathy Kiplinger said.
“Clink,” said all the others.
The name was ironic, and the improvisational christening was jokily pretentious, but still, Julie Jacobson thought, they
were
interesting. These teenagers around her, all of them from New York City, were like royalty and French movie stars, with a touch of something papal. Everyone at this camp was supposedly artistic, but here, as far as she could tell, was the hot little nucleus of the place. She had never met anyone like these people; they were interesting compared not only with the residents of Underhill, the New York suburb where she’d lived since birth, but also compared with what was generally
out there,
which at the moment seemed baggy suited, nefarious, thoroughly repulsive.
Briefly, in that summer of 1974, when she or any of them looked up from the deep, stuporous concentration of their one-act plays and animation cels and dance sequences and acoustic guitars, they found themselves staring into a horrible doorway, and so they quickly turned away. Two boys at camp had copies of
All the President’s Men
on the shelves above their beds, beside big aerosol cans of Off! and small bottles of benzoyl peroxide meant to dash flourishing, excitable acne. The book had come out not long before camp began, and at night when the teepee talk wound down into sleep or rhythmic, crickety masturbation, they would read by flashlight.
Can you believe those fuckers?
they thought.
This was the world they were meant to enter: a world of fuckers. Julie Jacobson and the others paused before the doorway to that world, and what were they supposed to do—just walk through it? Later in the summer Nixon would lurch away, leaving his damp slug trail, and the entire camp would watch on an old Panasonic that had been trundled into the dining hall by the owners, Manny and Edie Wunderlich, two aging Socialists who were legendary in the small, diminishing world of aging Socialists.
Now they were gathering because the world was unbearable, and they themselves were not. Julie allowed herself another slight degree of movement, crossing and recrossing her arms. But still no one turned and insisted on knowing who had invited this awkward, redheaded, blotchy girl in. Still no one asked her to leave. She looked around the dim room, where everyone was mostly inert on the bunks and on the wooden slats of the floor, like people in a sauna.
Ethan Figman, thick bodied, unusually ugly, his features appearing a little bit flattened, as if pressed against a mime’s invisible glass wall, sat with his mouth slack and a record album in his lap. He was one of the first people she’d noticed after her mother and sister drove her up here days earlier. He had been wearing a floppy denim hat then, and he greeted everyone around him on the lawn, grabbing the ends of trunks, allowing himself to be smashed into platonic hugs with girls and soul handshakes with other boys. People cried out to him, “Ethan! Ethan!” and he was pulled toward each voice in turn.
“That boy looks ridiculous,” Julie’s sister, Ellen, said quietly as they stood on the lawn, fresh out of their green Dodge Dart and the four-hour drive from Underhill. He did look ridiculous, but Julie already felt the need to be protective of this boy she didn’t know.
“No he doesn’t,” she said. “He looks fine.”
They were sisters, only sixteen months apart, but Ellen, the older one, was dark-haired, closed-faced, and held surprisingly condemnatory opinions, which had often been dispensed in the small ranch house where they lived with their mother, Lois, and, until that winter, their father, Warren, who had died of pancreatic cancer. Julie would always remember what sharing close quarters with a dying person had been like; particularly what it had been like sharing the single, peach-colored bathroom that her poor father had apologetically monopolized. She had begun to get her period when she was fourteen and a half—much later than anyone else she knew—and she found herself in need of the bathroom at times when it wasn’t available. Huddling in her bedroom with an enormous box of Kotex, she thought of the contrast between herself, “emerging into womanhood,” according to the movie that the gym teacher had shown the girls much earlier, in sixth grade, and her father, emerging into something else that she didn’t want to think about but which was upon her at all times.
In January he was dead, which was a grinding torment and also a relief, impossible to focus on or stop thinking about. Summer approached, still unfilled. Ellen didn’t want to go anywhere, but Julie couldn’t just sit at home all summer feeling like this and watching her mother and sister feel like this; it would lead to madness, she decided. At the last minute, her English teacher suggested this camp, which had an open spot and agreed to take Julie on scholarship. Nobody in Underhill went to camps like this one; not only wouldn’t they have been able to afford it, it wouldn’t have occurred to them to go. They all stayed home and went to the local bare-bones day camp, or spent long days oiled up at the town pool or got jobs at Carvel or loafed around their humid houses.
No one really had money, and no one ever seemed to think much about not having money. Warren Jacobson had worked in human resources at Clelland Aerospace; Julie had never understood exactly what his job entailed, but she knew that the pay wasn’t enough to allow the family to build and maintain a pool in their small backyard. Yet when she was suddenly offered a chance to go away to this camp in the summer, her mother insisted she accept. “Someone should have a little fun in this family,” said Lois Jacobson, a new, shaky widow at age forty-one. “It’s been a while.”
Tonight, in Boys’ Teepee 3, Ethan Figman seemed as confident as he’d been on the lawn that first day. Confident, but also probably conscious of his own ugliness, which would never go away over the whole of his life. On the surface of the record album, Ethan began rolling joints with efficiency. It was his job, he’d said, and he clearly liked having something to do with his fingers when there was no pen or pencil held between them. He was an animator, and he spent hours drawing his short animated films and filling the pages of the little spiral notebooks that always bulged from his back pocket. Now he took tender care with the tiny shovelfuls of grain and twig and bud.
“Figman, increase the velocity; the natives are restless,” said Jonah Bay. Julie knew almost nothing yet, but she did know that Jonah, a good-looking boy with blue-black hair that fell to his shoulders, and a leather string around his neck, was the son of the folksinger Susannah Bay. For a long time, his famous mother would be Jonah’s primary identifying characteristic. He had taken to indiscriminately using the expression “the natives are restless,” although this time it did make partial sense. Everyone here was restless, though none of them were native to this place.
That night in July, Nixon was still over a month away from being lifted off the White House lawn like a rotten piece of outdoor furniture. Across from Ethan, Jonah Bay sat with his steel-stringed guitar, wedged between Julie Jacobson and Cathy Kiplinger, a girl who moved and stretched all day in the dance studio. Cathy was big and blond and far more womanly than most girls could be comfortable with at age fifteen. Also she was “way too emotionally demanding,” as someone bluntly later observed. She was the kind of girl who boys never left alone; they were relentless in their automatic pursuit of her. Sometimes the outline of her nipples would appear through the fabric of a leotard like buttons on a sofa cushion, and they would need to be ignored by everyone, the way nipples often needed to be ignored in their vicissitudes.
Up above them all, on a top bunk, sprawled Goodman Wolf, six feet tall, sun sensitive, big kneed, and hypermasculine in khaki shorts and buffalo sandals. If this group had a leader, he was it. Literally, now, they had to look up to him. Two other boys who actually lived in this teepee had been politely but emphatically asked to go get lost for the night. Goodman wanted to be an architect, Julie had heard, but he never spent time figuring out how buildings stayed up, how suspension bridges withstood the weight of cars. Physically he was not quite as spectacular as his sister, for his good looks were a little muddied by troubled, stubbled skin. But despite his imperfections and his general air of laziness, he was a huge and influential presence here. The previous summer, in the middle of
Waiting for Godot
, Goodman had climbed into the lighting booth and plunged the stage into darkness for a full three minutes just to see what would happen—who would scream, who would laugh, how much trouble he’d get into. Sitting in the dark, more than one girl secretly imagined Goodman lying on top of her. He would be so big, like a lumberjack trying to fuck a girl—or, no, more like a
tree
trying to fuck a girl.
Much later, people who’d been at camp with him agreed that it made sense that Goodman Wolf was the one whose life had such an alarming trajectory. Of course they were surprised, they said—though not, they made sure to qualify, all that surprised.
The Wolfs had been coming to Spirit-in-the-Woods since they were twelve and thirteen; they were central to this place. Goodman was big and blunt and unsettling; Ash was waifish, openhearted, a beauty with long, straight, pale brown hair and sad eyes. Some afternoons in the middle of Improv
,
when the class was talking in a made-up language, or mooing and baaing, Ash Wolf would suddenly slip away from the theater. She would return to the empty girls’ teepee and recline on her bed eating Junior Mints and writing in her journal.
I’m beginning to
think I feel too much
, Ash wrote.
The feelings flood into me like so much water, and I am helpless against the onslaught.
Tonight the screen door had winced shut behind the departing, shooed-away boys, and then the three girls from the other side of the pines had arrived. There were six people altogether in this single-bulb-lit conical wooden structure. They would meet again whenever they could over the rest of the summer, and frequently in New York City over the next year and a half. There would be one more summer for all of them. After that, over the following thirty-odd years, only four of them would meet whenever they could, but of course it would be entirely different.
Julie Jacobson, at the start of that first night, had not yet transformed into the far better sounding Jules Jacobson, a change that would deftly happen a little while later. As Julie, she’d always felt
all wrong
; she was gangling, and her skin went pink and patchy at the least provocation: if she got embarrassed, if she ate hot soup, if she stepped into the sun for half a minute. Her deer-colored hair had been recently permed at the La Beauté salon in Underhill, giving her head a poodle bigness that mortified her. The stinking chemical perm had been her mother’s idea. Over the year in which her father was dying, Julie had occupied herself by zealously splitting her split ends, and her hair had become frizzed and wild. Sometimes she discovered a single hair with an uncountable number of splits, and she would tug on the whole thing, listening to the crackle as the hair broke between her fingers like a branch, and experiencing a sensation that resembled a private sigh.