Fall; or, Dodge in Hell - Neal Stephenson Page 0,92

sort of thing. Both men and women, since the Leviticans won’t let male physicians examine female patients. And I could give other examples of the same general thing. Some percentage of their children are gay. Some percentage have an intellectual or artistic temperament. Those kids need a place to go. Ames and Iowa City are far away. So they find their way into town, move into abandoned houses, and live their lives. Now, if you ask the guys who are up on that hill building that cross, they’ll quote Leviticus at you concerning gay people. But a lot of them have a child or a nephew or a cousin who’s gay and who is hanging out in this town minding their own business.”

“It’s an accommodation, you’re saying. Unspoken, unwritten.”

Pete nodded. “It’s not just that it’s unspoken. It’s that it can’t be spoken of.”

At Pete’s invitation they ended up lodging at the farmhouse, paired up in two of the upstairs bedrooms. These bore faint traces of refurnishings, rewirings, recarpetings, and rewallpaperings beyond count. The most recent wave had apparently been aimed at getting the place back to some kind of historical condition thought of as pure: hardwood floors reexposed and finished, layers of paint scraped off the heavy door trim, wallpaper stripped all the way down to the original horsehair plaster, light fixtures and doorknobs that had either spent most of a century piled in a hayloft or been painstakingly manufactured to look that way. Sophia didn’t have the talents or the sensibilities of a decorator, but she knew her critical theory, and as she lay awake on the iron bunk bed—now upgraded with an extra-firm Gomer Bolstrood mattress that had probably been slept on all of half a dozen times—she wondered about the way of thinking that held this one particular era of the house’s history to be somehow canonical: the logical end state to which it ought to be returned and in which it then ought to be preserved by the flawed machine of Richard Forthrast’s last will and testament. Between when it had first looked thus and the moment, a few years ago, when it had been returned to the same state, it had passed through who could guess how many intermediate phases of interior decoration. Almost all of these had been devoted to covering up—literally papering over—the simple bare rustic character that had now been expensively reinstated. Probably those decorators—various generations of Forthrast moms—had seen it as embarrassing and had sought to expunge it from their visual environments while spending as little money as possible.

When Karen—Pete’s wife, and now the chatelaine—had been assigning them to beds on the way back from Applebee’s, she had quite naturally and reasonably assumed that Sophia would want to sleep in Patricia’s former bedroom. Patricia had been the only girl in the generation that had included Alice’s husband, John; Sophia’s uncle Richard; and Jake, the straggler, the only one still living. Naturally John and Dodge had bunked in one room so that Patricia could have her own: a small, cozy third-story attic build-out with sloping walls. Upon reaching adulthood, getting married, and discovering that she was infertile, Patricia and her worthless husband had adopted Zula—Sophia’s mother—from Eritrea. The husband had gone on the lam and was no longer spoken of. Patricia had then died young in a freak accident. Zula had been raised by John and Alice, with Richard always hovering around the edges as a favored, cool, transgressive uncle. She’d ended up in Seattle, employed by Richard’s company. They had become close. Thus, when Sophia had been tiny, Richard had been her uncle/granddad. She still had memories of sitting on his lap reading books.

Three years ago, when she had been packing for the move out to Princeton, she had found the tattered copies of the D’Aulaires’ Greek and Norse myths that he had given her shortly before his untimely death. Opening Greek she had found a dried maple leaf, still faintly reddish, and heard the story from her father, Csongor, about how Richard had slipped it in there only minutes before the medical procedure that had killed him. They had taken it to an art store to have it framed under glass, and Sophia still had it among her effects. In sum, to the extent that Sophia conceived of herself as being part of an extended Forthrast clan, it was all about Richard, and about her longing—which would never be satisfied, and never go away—for the relationship she might have had