The Corrections. Jonathan Franzen

The workshop was now home to a colony of mute, dust-colored crickets, which, when startled, would scatter across the room like a handful of dropped marbles, some of them misfiring at crazy angles, others toppling over with the weight of their own copious protoplasm. They popped all too easily, and cleanup took more than one Kleenex. Enid and Alfred had many afflictions which they believed to be extraordinary, outsized—shameful—and the crickets were one of them.

      The gray dust of evil spells and the cobwebs of enchantment thickly cloaked the old electric arc furnace, and the jars of exotic rhodium and sinister cadmium and stalwart bismuth, and the hand-printed labels browned by the vapors from a glass-stoppered bottle of aqua regia, and the quad-ruled notebook in which the latest entry in Alfred’s hand dated from a time, fifteen years ago, before the betrayals had begun. Something as daily and friendly as a pencil still occupied the random spot on the workbench where Alfred had laid it in a different decade; the passage of so many years imbued the pencil with a kind of enmity. Asbestos mitts hung from a nail beneath two certificates of U.S. patents, the frames warped and sprung by dampness. On the hood of a binocular microscope lay big chips of peeled paint from the ceiling. The only dust-free objects in the room were the wicker love seat, a can of Rust-Oleum and some brushes, and a couple of Yuban coffee cans which despite increasingly strong olfactory evidence Enid chose not to believe were filling up with her husband’s urine, because what earthly reason could he have, with a nice little half-bathroom not twenty feet away, for peeing in a Yuban can?

      To the west of the Ping-Pong table was Alfred’s great blue chair. The chair was overstuffed, vaguely gubernatorial. It was made of leather, but it smelled like the inside of a Lexus. Like something modern and medical and impermeable that you could wipe the smell of death off easily, with a damp cloth, before the next person sat down to die in it.

      The chair was the only major purchase Alfred had ever made without Enid’s approval. When he’d traveled to China to confer with Chinese railroad engineers, Enid had gone along and the two of them had visited a rug factory to buy a rug for their family room. They were unaccustomed to spending money on themselves, and so they chose one of the least expensive rugs, with a simple blue design from the Book of Changes on a solid field of beige. A few years later, when Alfred retired from the Midland Pacific Railroad, he set about replacing the old cow-smelling black leather armchair in which he watched TV and took his naps. He wanted something really comfortable, of course, but after a lifetime of providing for others he needed more than just comfort: he needed a monument to this need. So he went, alone, to a non-discount furniture store and picked out a chair of permanence. An engineer’s chair. A chair so big that even a big man got lost in it; a chair designed to bear up under heavy stress. And because the blue of its leather vaguely matched the blue in the Chinese rug, Enid had no choice but to suffer its deployment in the family room.

      Soon, however, Alfred’s hands were spilling decaffeinated coffee on the rug’s beige expanses, and wild grandchildren were leaving berries and crayons underfoot, and Enid began to feel that the rug was a mistake. It seemed to her that in trying to save money in life she had made many mistakes like this. She reached the point of thinking it would have been better to buy no rug than to buy this rug. Finally, as Alfred’s naps deepened toward enchantment, she grew bolder. Her own mother had left her a tiny inheritance years ago. Interest had been added to principal, certain stocks had performed rather well, and now she had an income of her own. She reconceived the family room in greens and yellows. She ordered fabrics. A paperhanger came, and Alfred, who was napping temporarily in the dining room, leaped to his feet like a man with a bad dream.

      “You’re redecorating again?”

      “It’s my own money,” Enid said. “This is how I’m spending it.”

      “And what about the money I made? What about the work I did?”

      This argument had been effective in the past—it was, so to speak, the constitutional basis of the tyranny’s legitimacy—but it didn’t work now. “That rug is nearly ten years old, and we’ll never get the coffee stains out,” Enid answered.

      Alfred gestured at his blue chair, which under the paperhanger’s plastic dropcloths looked like something you might deliver to a power station on a flatbed truck. He was trembling with incredulity, unable to believe that Enid could have forgotten this crushing refutation of her arguments, this overwhelming impediment to her plans. It was as if all the unfreedom in which he’d spent his seven decades of life were embodied in this six-year-old but essentially brand-new chair. He was grinning, his face aglow with the awful perfection of his logic.

      “And what about the chair, then?” he said. “What about the chair?”

      Enid looked at the chair. Her expression was merely pained, no more. “I never liked that chair.”

      This was probably the most terrible thing she could have said to Alfred. The chair was the only sign he’d ever given of having a personal vision of the future. Enid’s words filled him with such sorrow—he felt such pity for the chair, such solidarity with it, such astonished grief at its betrayal—that he pulled off the dropcloth and sank into its arms and fell asleep.

      (It was a way of recognizing places of enchantment: people falling asleep like this.)

      When it became clear that both the rug and Alfred’s chair had to go, the rug was easily shed. Enid advertised in the free local paper and netted a nervous bird of a woman who was still making mistakes and whose fifties came out of her purse in a disorderly roll that she unpeeled and flattened with shaking fingers.

      But the chair? The chair was a monument and a symbol and could not be parted from Alfred. It could only be relocated, and so it went into the basement and Alfred followed. And so in the house of the Lamberts, as in St. Jude, as in the country as a whole, life came to be lived underground.

      Enid could hear Alfred upstairs now, opening and closing drawers. He became agitated whenever they were going to see their children. Seeing their children was the only thing he seemed to care about anymore.

      In the streaklessly clean windows of the dining room there was chaos. The berserk wind, the negating shadows. Enid had looked everywhere for the letter from the Axon Corporation, and she couldn’t find it.

      Alfred was standing in the master bedroom wondering why the drawers of his dresser were open, who had opened them, whether he had opened them himself. He couldn’t help blaming Enid for his confusion. For witnessing it into existence. For existing, herself, as a person who could have opened these drawers.

      “Al? What are you doing?”

      He turned to the doorway where she’d appeared. He began a sentence: “I am—” but when he was taken by surprise, every sentence became an adventure in the woods; as soon as he could no longer see the light of the clearing from which he’d entered, he would realize that the crumbs he’d dropped for bearings had been eaten by birds, silent deft darting things which he couldn’t quite see in the darkness but which were so numerous and swarming in their hunger that it seemed as if they were the darkness, as if the darkness weren’t uniform, weren’t an absence of light but a teeming and corpuscular thing, and indeed when as a studious teenager he’d encountered the word “crepuscular” in McKay’s Treasury of English Verse, the corpuscles of biology had bled into his understanding of the word, so that for his entire adult life he’d seen in twilight a corpuscularity, as of the graininess of the high-speed film necessary for photography under conditions of low ambient light, as of a kind of sinister decay; and hence the panic of a man betrayed deep in the woods whose darkness was the darkness of starlings blotting out the sunset or black ants storming a dead opossum, a darkness that didn’t just exist but actively consumed the bearings that he’d sensibly established for himself, lest he be lost; but in the instant of realizing he was lost, time became marvelously slow and he discovered hitherto unguessed eternities in the space between one word and the next, or rather he became trapped in that space between words and could only stand and watch as time sped on without him, the thoughtless boyish part of him crashing on out of sight blindly through the woods while he, trapped, the grownup Al, watched in oddly impersonal suspense to see if the panic-stricken little boy might, despite no longer knowing where he was or at what point he’d entered