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She would hardly be referred to at all by her cringing lovers, whose tails between their legs were all remindful to Mrs. Ralph of the manner in which Garp had once left her house.

In sympathy, at the news of Garp's shocking death, Mrs. Ralph was among the very first to write to Helen. "His was a seduction," Mrs. Ralph wrote, "whose non-occurrence I have always regretted but respected."

Helen came to rather like the woman, with whom she occasionally corresponded.

Roberta Muldoon also had occasion to correspond with Mrs. Ralph, whose application for a Fields Foundation fellowship was rejected. Roberta was quite surprised by the note sent the Fields Foundation by Mrs. Ralph.

Up yours,

the note said. Mrs. Ralph did not appreciate rejection.

Her own child, Ralph, would die before her; Ralph became quite a good newspaperman and, like William Percy, was killed in a war.

* * *

--

BAINBRIDGE PERCY, who was best known to Garp as Pooh, would live a long, long time. The last of a train of psychiatrists would claim to have rehabilitated her, but Pooh Percy may simply have emerged from analysis--and a number of institutions--too thoroughly bored with rehabilitation to be violent anymore.

However it was achieved, Pooh was, after a great while, peaceably reintroduced to social intercourse; she reentered public life, a functioning if not speaking member of society, more or less safe and (finally) useful. It was in her fifties that she became interested in children; she worked especially well and patiently with the retarded. In this capacity, she would frequently meet other Ellen Jamesians, who in their various ways were also rehabilitated--or, at least, vastly changed.

For almost twenty years Pooh would not mention her dead sister, Cushie, but her fondness for children eventually confused her. She got herself pregnant when she was fifty-four (no one could imagine how) and she was returned to institutional observation, convinced, as she was, that she would die in childbirth. When this didn't occur, Pooh became a devoted mother; she also continued her work with the retarded. Pooh Percy's own child, for whom her mother's violent history would be a severe shock in her later life, was fortunately not retarded; in fact, she would have reminded Garp of Cushie.

Pooh Percy, some said, became a positive example for those who would forever put an end to capital punishment: her rehabilitation was so impressive. Only not to Helen, and to Duncan Garp, who would wish to their graves that Pooh Percy had died at that moment when she last cried "Ig!" in the Steering wrestling room.

One day Pooh would die, of course; she would succumb to a stroke in Florida, where she was visiting her daughter. It was a small consolation to Helen that Helen would outlive her.

The faithful Whitcomb would choose to describe Pooh Percy as Garp had once described her, following his escape from the first feminist funeral. "An androgynous twerp," Garp said to Dean Bodger, "with a face like a ferret and a mind completely sodden by spending nearly fifteen years in diapers."

* * *

--

That official biography of Garp, which Donald Whitcomb titled Lunacy and Sorrow: The Life and Art of T. S. Garp, would be published by the associates of John Wolf, who would not live to see the good book in print. John Wolf had contributed much effort to the book's careful making, and he had worked in the capacity of an editor to Whitcomb--over most of the manuscript--before his untimely demise.

John Wolf died of lung cancer in New York at a relatively young age. He had been a careful, conscientious, attentive, even elegant man--most of his life--but his deep restlessness and unrelieved pessimism could only be numbed and disguised by smoking three packs of unfiltered cigarettes per day from the time he was eighteen. Like many busy men who maintain an otherwise calm and managed air about themselves, John Wolf smoked himself to death.

His service to Garp, and to Garp's books, is inestimable. Although he may from time to time have held himself responsible for the fame which, in the end, provoked Garp's own violent killing, Wolf was far too sophisticated a man to dwell on such a narrow view. Assassination, in Wolf's opinion, was "an increasingly popular amateur sport of the times"; and "political true believers," as he called nearly everybody, were always the sworn enemy of the artist--who insisted, however arrogantly, on the superiority of a personal vision. Besides, Wolf knew, it was not only that Pooh Percy had become an Ellen Jamesian, and had responded to Garp's baiting; hers was a grievance as old as childhood, possibly aggravated by politics but basically as deep as her long need for diapers. Pooh had gotten it into her head that Garp's and Cushie's love for fucking each other had finally been lethal to Cushie. At least, it is true, it was lethal to Garp.

A professional in a world that too often worshiped the contemporaneity it had created, John Wolf insisted to his end that his proudest publication was the father and son edition of The Pension Grillparzer. He was proud of the early Garp novels, of course, and came to speak of The World According to Bensenhaver as "inevitable--when you consider the violence Garp was exposed to." But it was "Grillparzer" that elevated Wolf--it and the unfinished manuscript of My Father's Illusions, which John Wolf looked upon, lovingly and sadly, as "Garp's road back to his right way to write." For years Wolf edited the messy first draft of the u

nfinished novel; for years he consulted with Helen, and with Donald Whitcomb, about its merits and its faults.

"Only after I'm dead," Helen insisted. "Garp would let nothing go if he didn't think it was finished." Wolf agreed, but he died before Helen. Whitcomb and Duncan would be left to publish My Father's Illusions--considerably posthumously.

It was Duncan who spent the most time with John Wolf during Wolf's torturous dying of lung cancer. Wolf lay in a private hospital in New York, sometimes smoking a cigarette through a plastic tube inserted in his throat.

"What would your father say to this?" Wolf asked Duncan. "Wouldn't it suit one of his death scenes? Isn't it properly grotesque? Did he ever tell you about the prostitute who died in Vienna, in the Rudolfinerhaus? What was her name?"

"Charlotte," Duncan said. He was close to John Wolf. Wolf had even come to like the early drawings Duncan had done for The Pension Grillparzer. And Duncan had moved to New York; he told Wolf that his first sense of knowing he wanted to be a painter, as well as a photographer, was his view of Manhattan from John Wolf's office--the day of the first feminist funeral in New York.

In a letter John Wolf dictated to Duncan from his deathbed, Wolf left word for his associates that Duncan Garp was to be allowed to come look at Manhattan from his office for as long as the publishing company occupied the building.

For many years after John Wolf died, Duncan took advantage of the offer. A new editor moved into Wolf's office, but the name of Garp made all the editors in that publishing house scurry.

For years secretaries would come in and say, "Excuse me, it's that young Garp. To look out the window again."

Duncan and John Wolf spent the many hours it took John Wolf to die discussing how good a writer Garp was.