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Documentos de Profesional
Documentos de Cultura
1 Suzanne Ferguson, « Resisting the pull of plot: Paley's anti-sequence in the "Faith" stories », Journal of
the Short Story in English, 32, Spring 1999. URL : http://jsse.revues.org/180. Traducción para la Cátedra
de Literatura Norteamericana de Patricia L. Lozano (Noviembre 2017).
2
Como, por ejemplo, en las historias neocelandesas sobre la familia Burnell de Katherine Mansfield o las
de Victor Joseph y su familia en la Reserva India de Coeur d´Alene, Idaho, en los relatos de Sherman
Alexie.
3
“Two Sad Stories from a Long and Happy Life” es en subtítulo con que se presentan los cuentos
protagonizados por Faith, “The Used-Boy Raisers” y “A Subject of Childhood”, en la primera colección
de relatos de la autora The Little Disturbances of Man, de 1959.
4
El mejor tratamiento de los elementos judíos en Paley está en “Margins of Hope: Grace Paley´s
Language of Memory,” en el capítulo V del libro de Victoria Aron A Measure of Memory: Storytelling
and Identity in American Jewish Fiction. También se puede consultar el texto de Judith Arcana, Grace
Paley´s Life Stories: A Literary BIography, para ver las correlaciones entre la vida de Paley y sus
ficciones.
2
5
«En “Demystified Zone,” envié a Faith a Puerto Rico como representante de su PTA. … Faith trabajó
para mi en muchas de sus historias en al menos tres libros, y pensé que se desempeñaría bien con la
responsabilidad periodística.» (JIT, 125). Ver también Arcana, 3-5.
6
Hay varios relatos más en los libros de 1974 y 1985 en los que un “yo” sin nombre puede ser Faith, así
como un cierto número de historias que se centran en los amigos y conocidos de Faith; y dos cuentos
adicionales sobre Faith en el volumen misceláneo –compuesto mayormente de ensayos– Just as I Thought
(1998).
7
Jack, que posiblemente se convierte en marido en algún momento, y que la deja más tarde para tener una
aventura con una mujer más joven; Faith también tiene al menos otro amante mientras convive con Jack.
3
¿Quiénes son sus antepasados? Mamá y papá, por supuesto. ¿Su ambiente? Un hermano y una hermana
con sus propias aflicciones, con las que tendrán que lidiar hasta que abandonen esta vida. (ECLM, 39)
Faith tiene dos “hijos sin padre”, sus propios padres viven ahora en la residencia
“Hijos de Judea”, en contra de las objeciones de sus tres hijos. Al avanzar un poco la
historia, se ofrece más información: “Los Darwin se mudaron a Coney Island por el
aire. No había suficiente aire en Yorkville, donde la abuela había sido encajada, entre
nazis alemanes y vagos irlandeses, por el abuelo de Faith, que pronto se marchó a su
muerte, solo y vistiendo un pijama azul” (40-41). La abuela “fingía que era alemana del
mismo exacto modo en que Faith finge que es americana” (41), expresión significativa
que debería alertarnos sobre la postura de resistencia, subversiva, de Faith: vive una
vida urbana asimilada, juega el rol de madre de la P.T.A., junto con los de esposa
abandonada e izquierdista íntegra, ciudadana militante, con aparente complacencia, pero
como verá el lector, llena de rabia irónica en su sometimiento a algunos de esos roles.
Sus padres y hermanos, de hecho, piensan que debería hacer terapia: su padre incluso le
ofrece “cierta suma de dinero” para este fin. La madre de Faith, por otro lado, ha
aceptado su rol de mujer judía, “aprendido el auténtico yiddish”, y “tan pronto como
juntó todos los verbos y sustantivos necesarios a cobijo de su paladar, se comprometió a
protestar en yiddish y a lamentarse solo en yiddish, y cumplió su palabra hasta el día de
hoy” (41). Y, se torna evidente en “Dreamer in a Dead Language” ella fue quien tomó la
iniciativa de mudarse a “Hijos de Judea”. Como dice su marido, “ Ella piensa que está
en un bonito y tranquilo kibbutz, solo que afortunadamente Jordan no está de un lado y
Egipto del otro (LSD, 28)
Descubrimos también, en “Faith in the Afternoon”, la historia abreviada de su
matrimonio con Ricardo, su carácter (o ausencia de él), el nacimiento de sus hijos, y la
ruptura. Un total de cinco páginas de este relato de trece son dedicadas a esta exposición
sumaria –adecuado para una novela, pero tan desproporcionado aquí que constituye un
desprecio a las convenciones del formato cuento. Luego de una pausa marcada por
asteriscos, comienza la historia “real” de la tarde del título, con el anuncio indirecto de
Faith a su madre, en una visita a “Hijos de Judea”, de que Ricardo la ha abandonado. Su
madre la culpa de la ruptura: “Ai, Fey, tienes que vivir tu vida un poco mejor” (44). Una
vecina, la entrometida Sra. Hegel-Shtein, viene de visita, critica implícitamente a Faith
por no venir a ver a su madre más seguido, y se lanza a un relato sobre su propio hijo
que termina con una crítica a los Darwin por cerrar su puerta de noche “por un asunto
de diez minutos se encierran durante toda la noche”), interrumpiendo el cruce de
corrientes de aire/la ventilación. Persuadida a devanar lana para la Sra Hegel-Shtein,
Faith escucha los chismes y observa a los judíos tradicionales pasar frente a la puerta
abierta de la habitación. El chismorreo rescata momentos del pasado de los Darwin: el
enfrentamiento del Sr. Darwin con un policía gentil8 “que una vez intentó impedirle que
distribuyera propaganda de una escuela yiddish, y la defensa vivaz de su madre,
gritándole, “¡Cállate, cosaco!”- una “¡expresión terrible, [cállate]… para un judío… una
palabra sucia, como un pecado, porque en el principio si mal no recuerdo, fue la
palabra!” el señor Darwin había explicado ese evento (48). Se cuentan otras historias,
sobre los contemporáneos de Faith, todas relacionadas con algún desastre –físico,
económico, o marital- culminando con la historia de la humillación de Anita Franklin,
“la chica más sexy en New Utrecht High" según la mitología juvenil de Faith (52) El
abandono de Anita por parte de Arthur Mazzano, “el brillante investigador y profesor
sefaradí” se conecta con la propia pérdida de Faith, y “el pulgar de la sombra de Ricardo
que se cernía sobre ella la golpeó en el ojo izquierdo” provocándole lágrimas.
8
Se trata aquí de “gentil” en el sentido de persona no judía, no de un policía amable.
4
9
También lo vemos a punto de convertirse en el amante Anna en “Faith in a Tree” que transcurre antes
de “Dreamer.”
10
Para establecer las fechas de publicación de los cuentos usé la bibliografía de Neil Isaac publicada en
Grace Paley, a Study of the Short Fiction.
5
De todos los cuentos sobre Faith, “The Long Distance Runner” es el más
completo y autocontenido. Aunque el lector que conoce los otros relatos conecta a los
hijos ya casi adultos con sus otras apariciones, y sus vidas tempranas, y ubica a la Sra.
Raffery y a Jack en sus roles más abarcadores en la vida de Faith (incluso hay una
referencia a los padres que están en “Hijos de Judea”), estas actividades del lector son
extras que complementan la historia, que le dan a Faith una profundidad mayor que la
que pudo haber tenido con este cuento por sí solo. Paradójicamente, la vuelven más
11
Una de ellas, Eloise, tuene dos años pero es pequeña para su edad, y las otras parecen ser mellizas.
6
Como lo hace habitualmente, Paley nos recuerda que “la cuestión mundial,” el
más abarcador mundo político, rodea e incluso impacta en nuestras aflicciones.
Reforzando esta observación, una de las tres amigas que fueron a hacer una última visita
a Selena conquista a un pasajero en el tren de regreso—ante la pena y envidia de sus
compañeras, incluyendo a Faith. La enorme habilidad de Paley para crear un retrato de
la vida diaria, donde los comportamientos cotidianos no se detienen por la enfermedad o
la muerte, junto con perdurables generalizaciones “verdaderas” sobre nuestra sociedad,
basadas en la etnia y el género, es especialmente evidente en esta historia, que a la vez
simpatiza con y juzga la conducta y los autoengaños de los personajes.
7
Aunque es claro que las historias sobre Faith son material para una novela, Paley
también claramente rechaza esa forma por falsear las cuestiones que la conmueven en la
vida contemporánea. Como una escritora feminista judía, Paley es una outsider, con una
perspectiva especial sobre la cultura dominante en la que vive, una cultura que se está
derrumbando a causa de sus propias inconsistencias y descuidos, una cultura vulnerable
a la “guerra” de guerrillas que representan los relatos de Faith. Como mujer, Faith
resiste y desea a los hombres; como madre cría a sus hijos para ser hombres (tampoco
podría evitar que lo sean, por supuesto); como amiga ayuda y decepciona a su grupo de
mujeres; como hija lidia con el amor filial y la separación cultural. Cada relato en
particular es una especie de incursión en el milieu cultural, sostenido a través de un
grupo completo de historias que funcionan como fondo coherente contra el cual los
momentos individuales de revelación puedan resonar. Paley no desea abandonar su
cultura judía, sino más bien forzar su adaptación a las circunstancias de una sociedad en
la cual la justicia social y la realización individual son meros ideales, frecuentemente
subvertidos por la ambición y la codicia, asequibles solo por momentos.
Como otros escritores de estas extrañamente híbridas, formas marginales –
relatos interrelacionados pero no vinculados físicamente en un “libro”--, Paley
considera que está en una posición desde la cual solo puede adueñarse del poder a través
de una especie de una engañosa aquiescencia a las normas—de la sociedad y de la
escritura. Como los judíos y gentiles del “vecindario” de Faith se esfuerzan para
asimilarse, para aceptar el ideal democrático de juzgar a cada uno según sus méritos
individuales pero recaen continuamente en los clichés y los hábitos propios de sus
grupos de género, étnicos, o de edad, Paley parece estar intentando esconderse en las
mismas convenciones narrativas que desobedece a cada paso, y en ningún lado más
contundentemente que en los cuentos sobre Faith, la secuencia a la que se niega a dar
coherencia, la novela que se rehúsa estrictamente a crear.
Bibliografía
Although Grace Paley has consistently refused to arrange her stories of the
character Faith Darwin Asbury into a sequence, or to encourage any consideration of
them as a potential novel, critics and readers in general do find links among them—
consistently developed characters, the unfolding "story" of a family's "life" as children
grow up, the writer-protagonist takes lovers, engages in political activities, cultivates
friendships, and watches her parents' relationship deteriorate in the "Children of Judea"
retirement home--inviting consideration of the stories' interrelationships as a sequence
with a cumulative impact and meanings. In this respect they resemble a significant
roster of story "groups" by other writers who have similarly resisted arranging their
works with continuing characters and interrelated "life experiences" into novels or
formal sequences.
Inevitably, however, readers pursue continuities in such stories12 both attempting
to place them in sequences and to understand why they have not been either wholly
separated, as by having different character names and settings, or unified into a more
conventional sequence, cycle, or even a novel. In this paper I will suggest how Paley's
Faith stories beckon to readerly "sequencing" and analyze the thematic and affective
impact of such sequencing. Further, I will relate both the continuities and disruptions
posed by the stories' not having been so sequenced to Paley's own identity as a Jewish
feminist writer, protesting in her fictional forms the "minority" or "subaltern" status of
her female Jewish alter ego by subverting and undermining readers' expectations of
fictional development and closure in these "Sad Stories from a Long and Happy Life."
Even though "unpacked" in recent criticism, the combination "Jewish feminist"
may still seem oxymoronic. Contemporary feminism must by its most fundamental
social agenda pose multiple challenges to Jewish patriarchal religious tradition and
everyday custom. Paley is fundmentally a secular wiriter, whose Jewish identity is
broadly cultural rather than religious in nature13. She carries Jewish moral values and
attitudes into a New York social setting of the late 1950's through the 1980's in which it
is politically necessary to tell women's stories as a means of drawing attention to their
difficult situation, struggling to fulfill conflicting personal, familial, and social
demands. Paley herself, like her protagonist, married among the goyim, in a paradigm of
resistance or transgression that also invites much speculation about the possible
"autobiographical" nature of the stories. Although Faith shares many of Paley's
expressed ideas, it is more useful to see her, as Paley does, as a kind of stand-in or
emissary14.
In the Faith Darwin stories, beginning with the provocatively-framed "Two
Short Sad Stories from a Long and Happy Life" in her first volume, The Little
Disturbances of Man (1959), and extending through at least four stories in Enormous
12
As, for example, in Katherine Mansfield's New Zealand stories of the Burnell family or Sherman
Alexie's stories of Victor Joseph and his family on the Coeur d'Alene Indian Reservation in Idaho.
13
The best treatment of Jewish elements in Paley is "Margins of Hope: Grace Paley's Language
of Memory," Chapter V of Victoria Aarons' A Measure of Memory: Storytelling and Identity in
American Jewish Fiction. See also Judith Arcana, Grace Paley's Life Stories: A Literary Biography, for
correlations between Paley's life and fictions.
14
"In 'Demystified Zone,' I sent Faith to Puerto Rico as a representative of her PTA. ... Faith had
worked for me in many of the short stories in at least three books, and I thought she'd do well
with journalistic responsibility" (JIT, 125). See also Arcana, 3-5.
9
Changes at the Last Minute (1974) and at least seven in Later the Same Day (1985)15, a
central character is created who sometimes speaks and sometimes is characterized in the
third person. Faith has two male children, aged parents, a sister named Hope and a
brother named Charlie, an ex-husband, a male friend who becomes a lover16, and in
several of the stories a second and third lover. She has numerous female friends with
whom she shares child-raising when they are young, illness and impending death as
they age. Her children grow up; she goes to China with other left-leaning Americans; at
one point she runs away from home for several weeks and takes refuge with the black
woman who currently inhabits her family's former apartment near Brighton Beach:
surely a novel could be made of this material--yet Paley refuses the "obvious" fictional
structure. Why?
Paley's resistance to developing the themes in a novelistic way, I propose, has to
do with a need to subvert the novel's often-noted tendency to justify "things as they
are": the culture according to its "mainstream" rules and formulas. Unable to mount a
full-scale war on the social norms, Paley sends up little explosive anecdotes that, even
in themselves, almost always refuse to be traditional "stories" with causal plots. The
assimilated Jewish culture of Faith's parents erects norms that the daughter has to fight,
even to the extent of shocking her father with the revelation (in "Dreamer in a Dead
Language") that she has three lovers (possibly a lie, made up to pay him back for his
devastating announcement to her that he wishes to leave her mother--whom he has, he
says, never actually married-- in the retirement home and move back into the real
world). This second "Children of Judea" story is not, as Neil Isaacs has suggested (69) a
reworking of the material of the first ("Faith in the Afternoon"), but a different, and
perhaps cataclysmic, moment in the family history, with different perspectives on the
political and social environment.
"Faith in the Afternoon," the fourth story in Paley's second collection, is of
particular interest to my hypothesis because it gives Faith's family background, sets her
up, in an ironic way, as a possible character in a novel:
...her grandfather, scoring the salty sea, skated for miles along the Baltic's icy
beaches, with a frozen herring in his pocket. And [Faith], all ears [for hearing family
stories], was born in Coney Island.
Who are her antecedents? Mama and Papa of course. Her environment? a brother
and a sister with their own sorrow to lead by the nose out of this life...(ECLM 39)
She has two "fatherless boys," her parents now live in the "Children of Judea,"
over the objections of all three of their children. A little further into the story, more
exposition is offered: "The Darwins moved to Coney Island for the air. There was not
enough air in Yorkville, where the grandmother had been planted among German Nazis
and Irish bums by Faith's grandfather, who soon departed alone in blue pyjamas, for
death" (40-41). The grandmother "pretended she was German in just the same way that
Faith pretends she is an American" (41), in a significant locution that should alert us to
Faith's resisting, subversive posture: she lives an urban assimilated life, plays the role of
P.T.A. mother, plus those of abandoned wife and upright leftist, activist citizen with
apparent willingness, but as the reader sees, full of ironic rage in her submission to
some of these roles. Her siblings and parents, in fact, think she should get counselling:
15
There are also several other stories in the 1974 and 1985 volumes in which an unnamed "I"
may be Faith, as well as a number of stories focusing on Faith's friends and acquaintances; and
two additional Faith stories in the miscellaneous volume--mostly essays-- Just as I Thought(1998).
16
Jack, who possibly becomes a husband at some point, and who leaves her later to have a fling
with a younger woman; Faith also has at least one other lover while living with Jack.
10
her father even offers to put up "a certain amount of cash" to this end. Faith's mother, on
the other hand, has embraced her role of Jewish woman, "learned real Yiddish," and "as
soon as all the verbs and necessary nouns had been collected under the roof of her
mouth, she took an oath to expostulate in Yiddish and grieve only in Yiddish, and she
has kept that oath to this day" (41). And, it becomes clear in "Dreamer in a Dead
Language," she has initiated the move to "Children of Judea." As her husband says,
"She thinks she's in a nice quiet kibbutz, only luckily Jordan is not on one side and
Egypt is not on the other" (LSD, 28).
We learn also, in "Faith in the Afternoon," the summarized history of her
marriage to Ricardo, his character (or lack thereof), the births of her children, and the
breakup. A full five pages of the thirteen-page story are devoted to this expository
summary--fine for a novel, but so disproportionate here as to constitute a flouting of
short story conventions. After a break marked by asterisks, the "real" story of the title's
afternoon begins with Faith's indirect announcement to her mother, on a visit to
Children of Judea, that Ricardo has left her. Her mother blames Faith for the breakup:
"Ai, Faithy, you have to do your life a little better than this"(44). A neighbor, nosy Mrs.
Hegel-Shtein, rolls in for a visit, implicitly criticizes Faith for not visiting more often,
and winds off into a narrative of her own son that ends in a criticism of the Darwins for
closing their door at night ("for a tenminute business they close themselves up a whole
night long"), cutting off the crossventilation. Drawn into wool-winding for Mrs. Hegel-
Shtein, Faith listens to the gossip and watches the traditional Jews walk by the open
door of the room. The gossip retrieves moments from the Darwins' past: Mr. Darwin's
confrontation with a gentile policeman who once tried to stop him from distributing
advertisments for a Yiddish school, and her mother's spirited defense, shouting "Shut
up, you Cossack!" --a "terrible expression, [shut up] ... to a Jew... a dirty word, like a
sin, because in the beginning if I remember correctly, was the word!" Mr. Darwin had
explained the event (48). Other stories, of Faith's contemporaries, are told, all having to
do with some disaster--physical, economic, or marital--culminating in the story of the
humiliation of Anita Franklin, "the sexiest girl in New Utrecht High" in Faith's
mythology of her youth (52). Anita's abandonment by Arthur Mazzano, "the brilliant
Sephardic Scholar and Lecturer," connects with Faith's own loss, and "the thumb of
Ricardo's hovering shadow jabbed her in her left eye" bringing tears.
The story's conclusion, four pages long, is a parting conversation with her father.
He innocently shares with her a poem he has written on old age which Faith describes
as "A Japanese Psalm of David," comments on Jewish/Negro relations (most of the
employees of Children of Judea are black), and his frustration with his wife's tolerance
of the meddling, overbearing Mrs. Hegel-Stein. When, in response to Faith's plea that
she has to get home to the baby-sitter, he rhapsodizes that babysitters are a "wonderful
invention" that could allow a couple "to be lovers forever," she again bursts into tears,
and he realizes her predicament. Sympathetic at first, he is finally exasperated, and turns
from her tearful face in "absolute digestive disgust," a gesture unexplained but painfully
clear to Faith and to us. Thus by the indirection of the various conversations, and the
unadmitted pain that Faith experiences during these interchanges, we gradually
understand the narrative unity as both parents fail to support Faith in her time of need,
not out of cruelty or indifference, but because they cannot understand her situation,
locked as they are in generational, ethnic values and personal needs different from hers.
Moreover, we have had packed into the narrative an entire cultural and political
situation: the American urban Jewish past metonymically represented in the setting of
the Children of Judea, a past that goes back through Faith's own youth to that of her
parents and her grandparents. Some of the characters mentioned here will turn up in
11
other stories: Arthur Mazzano, his first name changed to Phillip, becomes Faith's own
lover by the time of "Dreamer in a Dead Language."17 The tension between the parents
over Mrs. Darwin's comfort in the Children of Judea and her husband's exasperation
there becomes the main conflictual situation of "Dreamer," and reading "Faith in the
Afternoon" prepares us emotionally for that story. Thus, although "Faith in the
Afternoon" is certainly "complete" in its revelation and change from its opening
situation, it has put out tentacles that penetrate deeply into most of the other "Faith"
stories, and has given an exposition of a family who could easily be the subject of a
novel.
The chronology of the Faith stories roughly follows the unfolding of the time
period across which they were written18, though condensed in the interval between the
first two stories and the rest. These first stories, "The Used Boy Raisers" and "A Subject
of Childhood" --gathered under the novel-spoofing surtitle, "Two Sad Stories from a
Long and Happy Life" in The Little Disturbances of Man (1959)-- take place when
Faith's children, Richard and Anthony (Tonto), are fairly young, the latter not yet in
school. Their father, who has already left the family, appears in the story along with
Faith's current boyfriend. Both men, and presumably Faith, are in their thirties (LDM
134). Thus it would seem that these stories are roughly "contemporaneous" with "Faith
in the Afternoon" (1960). In "Faith in a Tree" (1967, in ECLM), Viet Nam is already an
issue in the lives of Faith's female cohort, and Richard seems to be about nine or ten,
while Tonto is several years younger.
By "The Long Distance Runner" (1974) which ends Enormous Changes, the
boys are "quite old"--old enough to be left alone and cared for by Mrs. Raftery from
across the hall and Jack, Faith's boyfriend. Men have been on the moon. Faith is around
forty-two (ECLM 185) and has conceived a desire to run. She starts training in "the
country... Connecticut," in the spring. At the beginning of summer Faith bids the boys
goodbye and takes the subway to Brighton Beach, where she was raised. She runs first
along the boardwalk, then turns inland, finding herself on her old street, suddenly in the
midst of black people, young and old, some of whom tease and challenge her because
she is fat and white. Encouraged by a Girl Scout to enter her old building, she finds
herself in trouble when she foolishly and sentimentally offers to take the Girl Scout
home to live with her and her sons. Fleeing the girl's would-be rescuers, she is
unexpectedly admitted into her old apartment by black Mrs. Luddy, a single mother of
Donald, a boy of six or seven, and "three little baby girls all about the same age"
(194)19. Faith stays--improbably in the real world but fairly naturally in the story--for
three weeks, trading wisdom about men, domestic culture and life in general with Mrs.
Luddy, neurotically fearful of going outside. Finally, with Faith intruding into her
children's lives too much as (an unwanted, white) surrogate grandmother, Mrs. Luddy
wakes her up one morning and tells her it's "Time to go... Don't you think your little
spoiled boys crying for you? Where's Mama? They standing in the window. Time to go
lady. This ain't Free Vacation Farm" (201). Though Donald sticks up for her ("Oh Ma,
... she ain't a lot of trouble"), Faith starts out running again, only to discover that, "In the
three weeks I'd been off the street, jogging had become popular" (202), and numerous
others are also running alongside her.
17
We also see him on the verge of becoming Anna's lover in "Faith in a Tree," which "takes
place" before "Dreamer."
18
For the dating of the stories' publication I have used Neil Isaacs' bibliography in Grace Paley, a
Study of the Short Fiction.
19
One of them, Eloise, is two but small for her age, and the others seem to be twins.
12
Once unique, she is now one of the crowd. En route home she runs through the
playground of "Faith in a Tree," observing the mothers with little ones. "In order to
prepare them, meaning no harm, I said, In fifteen years, you girls will be like me, wrong
in everything" (202). Her return home is barely remarked, though later both boys and
Jack ask her to tell where she's been. None understands: "What are you talking about?
said Richard. Cut the baby talk. .... Anthony listened to me for a while. Then he said, I
don't know what she's talking about either." Jack asks to have the story told twice, but in
the end, "They all said, What?" (204). In the final paragraph, Faith draws the cryptic
moral of her story:
A woman inside the steamy energy of middle age runs and runs. She finds the houses and
streets where her childhood happened. She lives in them. She learns as though she was still a
child what in the world is coming next. (204-05)
Of all the "Faith" stories, "The Long Distance Runner" is the most complete and
selfcontained. Although the reader who knows the other stories connects the nearly
grownup children with their other appearances, their earlier lives, and places Mrs.
Raftery and Jack into their larger roles in Faith's life (there is even a reference to the
parents at Children of Judea), these readerly activities are surpluses that complement the
story, that give Faith a depth beyond what she could have in the story by itself.
Paradoxically, they make her more "individual," and less the type of "a woman inside
the steamy energy of middle age."
The Faith stories of Later the Same Day include not only "Dreamer in a Dead
Language" (1977) but the two Zagrowsky stories, one of which Faith tells ("The Story
Hearer"[1982]), and the other, "Zagrowsky Tells" (1985), is narrated by an elderly
xenophobic Jewish pharmacist who ends up the loving caretaker of his half-black
grandson. They are paired stories (though separated in the collection) in which Faith
appears a rather selfrighteous, insensitive feminist, and Zagrowsky, for all his male
chauvinism and anti-black sentiment, comes off as genuine and passionate. At the end
of his story, the women chatting on the playground intervene when (after a
confrontation with Faith over his earlier racist behavior) he becomes irrationally angry
at a young father who praises the beauty of Emanuel, the grandson Zagrowsky is raising
because his daughter Cissie is schizophrenic. Perhaps feeling ashamed of their own
earlier chiding, the women ostentatiously protect him from the young man. Faith not
only commiserates, she kisses him before departing, laughing with her "pals" (LSD
175). Zagrowsky is left bemused, as Emanuel writes his name in the sand. We cannot
avoid remembering that the boy's name means "God with us" in Isaiah's prophecy of
how the Messiah will come.
Except for "Dreamer in a Dead Language" and "Friends," the other Faith stories
of Later the Same Day have less intrinsic interest as individual stories: some of them are
shortshorts, and others deal with Faith's "fact-finding" trip to Communist China and her
casual affair with Nick Hegstraw "the famous sinologist." The story "Friends" (1979) --
about the death of Selena, one of Faith's group, from cancer-- is another that has its own
integrity but also extends and deepens Faith's story. It also contributes a specially
poignant insight into eighteen-year-old Anthony's growing up and coming to
realizations about life and death, truth and lies. His older brother Richard was coeval
with Selena's daughter Abby, and Anthony knows that Abby died of a drug overdose (a
fact that Selena has never taken in, recalling her daughter as the sweet childhood friend
of Faith's children). He queries Faith, "How come Selena never realized about Abby? ...
Come on, you had to be blind. I was just a little kid, and I saw. Honest to God, Ma."
(88). Faith defends Selena perfunctorily, only to have Anthony scorn her dishonesty:
13
Here she goes with her goody-goodies--everything is so groovy wonderful far-out terrific. Next
thing, you'll say people are darling and the world is so nice and round that Union Carbide will
never blow it up.
I have never said anything as hopeful as that. And why to all our knowledge of that sad day did
Tonto at 3 a.m. have to add the fact of the world. (LSD 88)
As she habitually does, Paley reminds us that "the fact of the world," the larger
political world, surrounds and impinges on even our griefs. Reinforcing this
observation, one of the three friends who have gone to pay a last visit to Selena picks up
a man in the train home--to the chagrin and envy of her companions, including Faith.
Paley's enormous skill in weaving the tapestry of daily life, where quotidien behavior
does not stop for illness and death, together with enduringly "true" generalizations about
our society, ethnically grounded and gendered, is especially evident in this story, which
both sympathizes with and judges the behavior and the self-deceptions of the characters.
While she clearly has in the Faith stories the materials for a novel, Paley equally
clearly rejects the form as falsifying the issues that move her in contemporary life. As a
feminist Jewish writer, Paley is an outsider with a special perspective on the dominant
culture in which she lives, a culture crumbling from its own inconsistencies and
inattention, a culture vulnerable to the guerrilla "warfare" of the Faith stories. As a
woman, Faith resists and desires men; as a mother she raises her boys to be men (not
that she could stop them, of course); as a friend she both aids and fails her cohort of
women; as a daughter she deals with filial love and cultural separation. Each individual
story is a kind of raid on the cultural milieu, sustained across the entire group of stories
as a consistent backdrop against which the individual moments of revelation can
resonate. Paley does not wish to abandon her Jewish culture, but rather to force its
accommodation to the circumstances of a society in which social justice and individual
fulfilment remain ideals, often subverted by individual greed and cupidity, realisable
only in moments.
Like other writers of these strangely hybrid, marginal forms--stories interrelated
but not physically linked in a "book"--, Paley senses herself to be in a position from
which she can only seize power through a kind of deceptive acquiescence to the norms--
of society and of writing. As the Jews and gentiles of Faith's "neighborhood" strive to
assimilate, to embrace the democratic ideal of judging everyone on individual merits,
but are continually falling back upon the clichés and habits of their gender, ethnic, or
age groups, Paley appears to be trying to conceal herself in conventions of storytelling
that she flouts at every turn, nowhere more tellingly than in the Faith stories, the
sequence that she refuses to allow to cohere, the novel that she sternly refuses to bring
into being.
Bibliographie
___. Later the Same Day. 1985. New York: Penguin, 1986.
___. Just as I Thought. New York: Farrar, Straus, Giroux, 1988.
Taylor, Jacqueline. Grace Paley: Illuminating the Dark Lives. Austin: U. of Texas
Press, 1990.