He bowed, kissed my hand. Thus we parted, I trust forever — though I quite expect some version of A. B. Cook to appear at this afternoon’s festivities, disclaiming any connexion with M. Casteene or involvement in the foregoing conversation. The gentleman was not pleased. In particular he bade me reconsider the matter of the letters: if neither our past intercourse nor our son retained importance for me, would I not at least abet in this small way a cause larger than either, the cause of the Second Revolution? In which Henri, if things were managed skillfully, might well play a major rôle?

Bugger your Revolution, I’m afraid I said, and got out of there — that dreadful, spooky Farm, where the chief crop raised is ghosts of the past — and back to the Erie Motel.

And, I wish I could say, back to my understanding and sympathetic Ambrose. But though my lover affirms with each insemination his resolve to marry me once I’m preggers and The Movie Thing is done, this past week has been the hardest of our history. On the Monday and the Tuesday, making the most of the rare sunshine, Prinz shot footage of the Chautauqua Institution, the lake itself, and the vineyard country round about, though Ambrose acknowledges that nowhere do these appear in your writings. Bats figured as prominently as actors, flitting around the Miller Bell Tower, the cupola of the old Athenaeum, and (I ventured to suggest) the belfries of Reg Prinz and Ambrose Mensch. The former had been enchanted by the latter’s passing mention of the obscure, winged ascent of the villain “Harold Bray” at the end of your Goat-Boy novel; and though I can attest that as of where I am therein (halfway through) it is nowhere suggested that that charlatan is Batman, so he seems to be becoming in the film. Prinz himself rappelled down the tower by Monday’s twilight in cape and domino to carry off Bea Golden (aptly cast as your nymphomanic heroine Anastasia) and make threatening squeaks at Ambrose in the role of, near as I can guess, Himself playing the Author dressed as Giles the Goat-Boy: sheepskin vest and a horned helmet borrowed from the Chautauqua Opera Company’s prop room, Wagnerian section.

Perfectly preposterous, of course, and as aggressively unfaithful to the novel as Ambrose endeavours to be to me. I cannot make myself recount his pursuit of “Anastasia,” which, with Prinz’s obvious consent, no doubt even at his instruction, Bea permits, nay encourages, but does not (I believe, who am ready to believe the worst) yet reward. It is All Part of the Movie: but inasmuch as there is no discernible boundary between that wretched film and our lives, Ambrose’s conquest of her, when and if it occurs and whether on or off camera, will be Part of the Movie too, as is my ongoing humiliation. I hate it!

On the Tuesday evening a cast party was organised which culminated in a triumphant fiasco, enlarged the cast by at least one lunatic more, and altered the direction of the movie’s “plot.” Prinz chartered the Chautauqua excursion yacht Gadfly III; caterers provisioned it with bar and buffet; the Baratarians — augmented by musician friends from the resident theatre troupe, all there for preseason rehearsals — piled merrily aboard, and we set out from the institute dock in the last light (swallows, bats, cameras!) for a nautical carouse. Imagine Our Surprise when we discover our skipper for the evening to be Someone We’ve Met Before: no, not André-Castine-Andrew-Burlingame-Cook, at least not apparently, but a chap whom Ambrose tells me I should remember from Harrison Mack’s funeral (my mind was on other things), which Mr Bray attended as a beneficiary of the Tidewater Foundation’s misguided philanthropy.

One Jerome Bonaparte Bray of Lily Dale, N.Y., surely the original of your goat-boy’s nemesis. But your “Harold Bray” is only abstractly sinister, a sort of negative principle. The original, while of a lesser order of magnitude, is ever so much more alarming because he’s real, he’s mad as a hatter, and he is — or was—in charge of the bloody ship!

We suspected something was amiss when an old Volkswagen beetle drove erratically up to the dock a quarter-hour late (the college lad who was the crew had allowed, with a roll of the eyes, as how his skipper “went” more by the sun and stars than by the clock) and, like a little circus car disgorging a large clown, gave vent to a great lanky chap wearing sunglasses, sea boots, a Lionel Barrymore sou’wester out of Captains Courageous, and, of all the landlubberly incongruities, a cloak and kid gloves. We thought him part of the entertainment; the Baratarians cheered, whistled, and straightway dubbed him Batman. So far from replying in like humour, the man seemed particularly offended by the name; he drew his cloak ’round him as he hustled through us to the wheelhouse, then turned at its door to declare in an odd mechanical tone that his name was Captain Bray, and that while as an employee of the ship’s owners he could forbid neither our lawful presence aboard the vessel nor the evening’s debauchery we were clearly bent upon, as the ship’s master he insisted we not address him by that obscene sobriquet, attempt to enter the wheelhouse, or otherwise interfere with his management of the vessel.

We were abashed. The Baratarians assumed he was joking and applauded his speech; he slammed the wheelhouse door and started off almost before the boy could let go our lines. Bea Golden, looking slinky despite her new rôle, wondered around her drink whether he was For Real. Ambrose clapped his brow, took the opportunity to take her arm, and made the connexion: between the chap at her father’s funeral who’d claimed to be doing something revolutionary with computers; the celebrated assemblage of spiritualists at Lily Dale, home of the Fox sisters, near Chautauqua; and that ambiguous humbug villain whom George Giles, Grand Tutor and Goat-Boy, supposes in your novel to be as necessary to himself as Antithesis to Thesis. Prinz hummed, narrowed his view-finding glasses, dispatched an assistant for camera and sound gear.

And so we steam down past the state fish hatchery towards the narrows where Chautauqua—French voyageur spelling of an Indian word supposed to mean “bag tied in the middle”—is tied in the middle by the old car-ferry. Regardless of us merrymakers, our captain is delivering the routine tourist spiel on the ship’s P.A., with what sound like embellishments of his own, in a voice that seems itself pieced together by computer in the days when such artifices were still recognisable. The boat, we are informed, is named after his Iroquois father. All of this was Iroquois country, he declares, and by rights ought still to be, unpolluted by the white man’s DDT and marijuana and purple martins and bats (!)… The Baratarians whistle and turn up the rock music. Bray escalates his own amplifier to full volume: Our elevation is 2,000 feet above sea level, 700 feet higher than Lake Erie. A raindrop falling into Lake Erie, 8 miles to northwest of us, will make its way over Niagara Falls, through Lake Ontario, and up the St Lawrence Seaway to the North Atlantic; one falling into Chautauqua Lake will exit via Chadakoin Creek (a variant English spelling of the same noble Indian word) into the Conewango, the Allegheny, the Ohio, and the Mississippi, then into the Gulf of Mexico and the Atlantic, itself a great Bag Tied in the Middle by its “narrows” at the latitude of the equator, where South America once fit into Africa…

Hoots and bravos; louder music. It was to be observed that these two raindrops between them traced the boundary of New France, or Upper and Lower Canada, the latter following the route marked in 1749 by Céloron de Blainville, or Bienville, “discoverer” of Chautauqua Lake, with lead plates bearing the coat of arms of the house of Bourbon, that dynasty deposed by the Revolution to make way for the Emperor Bonaparte…