10:35 P.M. I spot Amelia and Anne in the crowd walking back to the ferry. Amelia thinks that Stepan Trofimovich must really have been supposed to look like Marx: when he was dying in Varvara Petrovna’s arms, that was nascent Marxism being stifled in the embrace of the serf-based order. Heat lightning flashes above the bay. J. points out the roof of the Merrill Lynch building where he once interned for a twenty-three-year-old investment banker and realized that the corporate world was not for him. We are joined by The New York Post writer, who knows J. from journalism school. She has already submitted her six-inch article via cell phone.
10:45 P.M. Inside the ferry, it’s incredibly hot and stuffy. As in some strange dream, the actors are there too, sitting on benches along the walls. Some of them no longer resemble their characters, while others appear virtually unchanged. Stepan Trofimovich still has a wild black beard and wild white hair. Maybe he was born that way. His presence, I realize, makes me vaguely uneasy—as if part of me fears that he might start coughing and dying again.
10:55 P.M. In the past ten minutes, the ferry hasn’t gotten any less hot, stuffy, or stationary. “Maybe they have to dismantle the set before the boat can start,” J. suggests, producing a sinking feeling in the pit of my stomach.
11:00 P.M. “You know what I’m really craving now, is breakfast cereal,” J. remarks.
“Oh, really?” I reply. “I’m craving an enormous glass of Scotch.”
“Well, sure, that would be OK too. But just picture a big bowl of raisin bran, with cold milk. Doesn’t it sound fantastic?”
I give the matter some thought. “It sounds totally irrelevant to my life and problems,” I confess.
11:05 P.M. J. introduces me to the Post reporter. “I saw you in the audience,” she tells me. “You were writing the whole entire time!” I explain that I was taking notes for a minute-by-minute account, designed for the insatiably curious readers of The Paris Review website. “Now I have to go home and write it up,” I say, in tones that came out sounding more despondent than I had intended.
“Next time you shouldn’t take so many notes,” she says. “The more notes you take, the more notes you have to read later. You’re just creating more work for yourself.”
I give this advice some thought. “Thanks for the tip,” I say. Read More