The Worst Years of Your Life by Mark Jude Poirier Page A

cobwebs and recorded gibber: he took Magda’s elbow to steady her against revolving discs set in the slanted floor to throw your feet out from under, and explained to her in a calm, deep voice his theory that each phase of the funhouse was triggered either automatically, by a series of photoelectric devices, or else manually by operators stationed at peepholes. But he lost his voice thrice as the discs unbalanced him; Magda was anyhow squealing; but at one point she clutched him about the waist to keep from falling, and her right cheek pressed for a moment against his belt-buckle. Heroically he drew her up, it was his chance to clutch her close as if for support and say: “I love you.” He even put an arm lightly about the small of her back before a sailor-and-girl pitched into them from behind, sorely treading his left big toe and knocking Magda asprawl with them. The sailor’s girl was a string-haired hussy with a loud laugh and light blue drawers; Ambrose realized that he wouldn’t have said “I love you” anyhow, and was smitten with self-contempt. How much better it would be to be that common sailor! A wiry little Seaman 3rd, the fellow squeezed a girl to each side and stumbled hilarious into the mirror room, closer to Magda in thirty seconds than Ambrose had got in thirteen years. She giggled at something the fellow said to Peter; she drew her hair from her eyes with a movement so womanly it struck Ambrose’s heart; Peter’s smacking her backside then seemed particularly coarse. But Magda made a pleased indignant face and cried, “All right for you, mister!” and pursued Peter into the maze without a backward glance. The sailor followed after, leisurely, drawing his girl against his hip; Ambrose understood not only that they were all so relieved to be rid of his burdensome company that they didn’t even notice his absence, but that he himself shared their relief. Stepping from the treacherous passage at last into the mirror-maze, he saw once again, more clearly than ever, how readily he deceived himself into supposing he was a person. He even foresaw, wincing at his dreadful self-knowledge, that he would repeat the deception, at ever-rarer intervals, all his wretched life, so fearful were the alternatives. Fame, madness, suicide; perhaps all three. It’s not believable that so young a boy could articulate that reflection, and in fiction the merely true must always yield to the plausible. Moreover, the symbolism is in places heavy-footed. Yet Ambrose M____ understood, as few adults do, that the famous loneliness of the great was no popular myth but a general truth—furthermore, that it was as much cause as effect.
    All the preceding except the last few sentences is exposition that should’ve been done earlier or interspersed with the present action instead of lumped together. No reader would put up with so much with such prolixity. It’s interesting that Ambrose’s father, though presumably an intelligent man (as indicated by his role as grade-school principal), neither encouraged nor discouraged his sons at all in any way—as if he either didn’t care about them or cared all right but didn’t know how to act. If this fact should contribute to one of them’s becoming a celebrated but wretchedly unhappy scientist, was it a good thing or not? He too might someday face the question; it would be useful to know whether it had tortured his father for years, for example, or never once crossed his mind.
    In the maze two important things happened. First, our hero found a name-coin someone else had lost or discarded: AMBROSE, suggestive of the famous lightship and of his late grandfather’s favorite dessert, which his mother used to prepare on special occasions out of coconut, oranges, grapes, and what else. Second, as he wondered at the endless replication of his image in the mirrors, second, as he lost himself in the reflection that the