.
Why is this. Why do many parents who seem relentlessly bent on producing children who feel they are good persons deserving of love produce children who grow to feel they are hideous persons not deserving of love who just happen to have lucked into having parents so marvelous that the parents love them even though they are hideous?
Is it a sign of abuse if a mother produces a child who believes not that he is innately beautiful and lovable and deserving of magnificent maternal treatment but somehow that he is a hideous unlovable child who has somehow lucked in to having a really magnificent mother? Probably not.
But could such a mother then really be all that magnificent, if that’s the child’s view of himself?
I am not speaking about my own mother, who was decapitated by a plummeting rotorblade long before she could have much effect one way or the other on my older brother and innocent younger sister and me.
I think, Mrs. Starkly, that I am speaking of Mrs. Avril M.-T. Incandenza, although the woman is so multileveled and indictment-proof that it is difficult to feel comfortable with any sort of univocal accusation of anything. Something just was not right, is the only way to put it. Something creepy, even on the culturally stellar surface. For instance, after Orin had pretty clearly killed her beloved dog S. Johnson in a truly awful if accidental way, and then had tried to evade responsibility for it with a lie that a parent far less intelligent than Avril could have seen right through, Mrs. Inc’s response was not only not conventionally abusive, but seemed almost too unconditionally loving and compassionate and selfless to possibly be true. Her response to Orin’s pathetic pulverize-and-run-driver lie was not to act credulous so much as to act as if the entire grotesque fiction had never reached her ears. And her response to the dog’s death itself was bizarrely furcated. On the one hand, she mourned S. Johnson’s death very deeply, took the leash and collar and canine nubbin tenderly and arranged lavish memorial and funeral arrangements, including a heartbreakingly small cherrywood coffin, cried in audible private for weeks, etc. But the other half of her emotional energies went into being overly solicitous and polite toward Orin, upping the daily compliment-and-reinforcement-dose, arranging for favorite foods at E.T.A. meals, having his favorite little tennis appurtenances appear magically in his bed and locker with loving notes attached, basically making the thousands of little gestures by which the technically stellar parent can make her child feel particularly valued0 — all out of concern that Orin in no way think she resented him for S. Johnson’s death or blamed him or loved him less in any way because of the whole incident. Not only was there no punishment or even visible pique, but the love-and-support-bombardment increased. And all this was coupled with elaborate machinations to keep the mourning and funeral arrangements and moments of wistful dog-remembrance hidden from Orin, for fear that he might see that the Moms was hurt and so feel bad or guilty, so that in his presence Mrs. Inc became even more cheerful and loquacious and witty and intimate and benign, even suggesting in oblique ways that life was now somehow suddenly better without the dog, that some kind of unrecognized albatross had been somehow removed from her neck, and so on and so forth.
What does a trained analyst of our cultural profile’s soft contours like yourself make of this, Mrs. Starksaddle? Is it mind-bogglingly considerate and loving and supportive, or is there something … creepy about it? Maybe a more perspicuous question: Was the almost pathological generosity with which Mrs. Inc responded to her son taking her car in an intoxicated condition and dragging her beloved dog to its grotesque death and then trying to lie his way out of it, was this generosity for Orin’s sake, or for Avril’s own? Was it Orin’s “self-esteem” she was safeguarding, or her own vision of herself as a more stellar Moms than any human son could ever hope to feel he merits?
When Orin does his impression of Avril — which I doubt you or anyone else can get him to do anymore, though it was a party-stopper back in our days at the Academy — what he will do is assume an enormous warm and loving smile and move steadily toward you until he is in so close that his face is spread up flat against your own face and c. Yes — all right — this may start to touch on it: not “valuable” but “valued.”your breaths mingle. If you can get to experience it — the impression — which will seem worse to you: the smothering proximity, or the unimpeachable warmth and love with which it’s effected?
For some reason now I am thinking of the sort of philanthropist who seems humanly repellent not in spite of his charity but because of it: on some level you can tell that he views the recipients of his charity not as persons so much as pieces of exercise equipment on which he can develop and demonstrate his own virtue. What’s creepy and repellent is that this sort of philanthropist clearly needs privation and suffering to continue, since it is his own virtue he prizes, instead of the ends to which the virtue is ostensibly directed.
Everything Orin’s mother is about is always terribly well-ordered and multivalent. I suspect she was badly abused as a child. I have nothing concrete to back this up.
But if, Ms. Bainbridge, you have yielded your own charms to Orin, and if Orin strikes you as a wonderfully gifted and giving lover — which by various accounts he is — not just skilled and sensuous but magnificently generous, empathic, attentive, loving — if it seems to you that he does, truly, derive his own best pleasure from giving you pleasure, you might wish to reflect soberly on this vision of Orin imitating his dear Moms as philanthropist: a person closing in, arms open wide, smiling.
[270] ® The Glad Flaccid Receptacle Corporation, Zanesville OH.
[271] (including K. McKenna, who claims to have a bruised skull but does not in fact have a bruised skull)
[272] This is why Ann Kittenplan, way more culpable for Eschaton-damage than any of the other kids, isn’t down here on the punitive cleanup crew, is that it’s become a defacto Tunnel Club operation. LaMont Chu was nominated to tell her she could blow it off and they’d mark her down as present, which was just fine with Ann Kittenplan, since even the butchest little girls don’t seem to have this proto-masculine fetish for enclosure underneath things.
[273] = Stars, shooting stars, falling stars.
[274]Poutrincourt uses the Nuck idiom réflechis instead of the more textbook reflexes, and does indeed sound like the real Canadian McCoy, though her accent is without the long moany suffixes of Marathe, and but anyway it is for certain that a certain ‘journalist’ will be e-mailing Falls Church VA on the U.S.O.’s Clipper-proof line for the unexpurgated files on one ‘Poutrincourt, Thierry T.’
[275] Using s’annuler instead of the more Québecois se détruire.
[276] Using the vulgate Québecois transperçant, whose idiomatic connotation of doom Poutrincourt shouldn’t have had any reason to think the Parisian-speaking Steeply would know, which is the slip that indicates that Poutrincourt’s figured out that Steeply is neither a civilian soft-profiler nor even a female, which Poutrincourt’s probably known ever since Steeply’d lit his Flanderfume with the elbow of his lighter-arm out instead of in, which only males and radically butch lesbians ever do, and which together with the electrolysis-rash comprises the only real chink in the operative’s distaff persona, and would require an almost professionally hypervigilant and suspicious person to notice the significance of.