That Old Cape Magic

least one detail of the morphine version was factually untrue. Griffin had never visited his father in Amherst, so either his mother was confused in her recollection of who’d almost caught them when her car wouldn’t start (Claudia, returning from Charleston?) or she’d invented the entire episode. The problem was there were relatively few flagrant discrepancies, and resolving the ones there were wasn’t terribly helpful. The skeleton of the two tales was pretty much the same, so it came down to plausibility, to each story’s interior logic.
    Griffin hated to admit it, but in one respect the Morphine Narrative was marginally more credible. In the original, when his mother informed him, with great satisfaction, about his father’s disastrous year at Amherst, he—the veteran of a thousand sets of studio notes—had objected there was no way she could know everything she claimed to. His father was in one place and she in another, and even with a vast network of academic spies, the story she was pitching would have been, of necessity, a patchwork quilt of secondhand testimony. What his father had been thinking as he first outlined Claudia’s dissertation, and later as he composed an introduction and, finally, throwing caution to the wind, wrote the whole thing, was something only he could testify to, and he certainly wouldn’t have told her. But if there was any truth to the Morphine Narrative, then of course his mother had
been
there in Amherst, an off-and-on eyewitness. If they really were lovers, the story
wasn’t
secondhand but rather based on her own observations, however sporadic. His intimate revelations to her during this period therefore made a kind of sense. But if she’d been a regular visitor, his father couldn’t have been lonely; and if he wasn’t lonely,then missing Claudia hadn’t unhinged him; and if he wasn’t unhinged, why had he written her dissertation?
Had
he, in fact, written it?
    In almost all respects, though, his mother’s original saga was far more credible. Its general thrust—
Look how far your father has fallen without me to look after him
—was completely in character. It wasn’t just how
she
would feel, but indeed any woman similarly horse-traded. Its logic was consistent, and the visual evidence corroborated it. Griffin hadn’t visited him during his year at Amherst, but he’d seen him shortly after his return and vividly recalled his physical and emotional state, his health ruined, his nervous system shattered. Emaciated, ill, exhausted, he’d
looked
like a desperately lonely man who’d come unglued. That’s what his mother’s gleeful account had prepared Griffin to see, granted, but still. If he credited the Morphine Narrative and his parents had instead been having the best sex of their lives, then his haggard, distraught appearance afterward was due to what, carpal fatigue? And if he and Griffin’s mother were still passionately involved, why would he have surrendered a cushy full professorship for crappier jobs? And why keep such a secret from his son?
    But that, of course, was the whole point of the latter version.
You never knew us. You thought you did, but how wrong you were. Our lives were a glorious secret, even from you
. And this was also the problem in a nutshell. The most compelling thing about the Morphine Narrative was his mother’s need to tell it. At a stage of life when most people wanted to unburden themselves, why had she so desperately needed to lie? With so little time left, why use your last ounce of strength to invent such an elaborate falsehood? What difference could it possibly make to her what he thought about their marriage? No, the whole thing was nonsense, and the clincher was this: if the Morphine Narrative was true, in whole or part, then why, before falling ill, had his mother been so adamant that his father’s ashes be scattered on one side of the Cape, her own on the other? Iftheir lives were intertwined right to the end, wouldn’t she want their ashes to commingle?
    Still, the nearer she got to the end—of her Morphine Narrative, of her life—the more he found himself wanting the story to be true, or if not true at least not completely false, not completely morphine. He kept hoping for a load-bearing detail strong enough to support the weight of its creaky structure, to fortify the too-often-chimerical motives of its characters. If she’d told him, for instance, that she’d been with his father when he died at that