"Well ..." Richard Abbott began; there was a thoughtful pause. "If it's going to be Ibsen--and we are, after all, only amateurs--it should be either Hedda Gabler or A Doll's House. No children at all in the former, and the children are of no importance as actors in the latter. Of course, there is the need for a very strong and complicated woman--in either play--and for the usual weak or unlikable men, or both."
"Weak or unlikable, or both?" Nils Borkman asked, in disbelief.
"Hedda's husband, George, is ineffectual and conventional--an awful combination of weaknesses, but an utterly common condition in men," Richard Abbott continued. "Eilert Lovborg is an insecure weakling, whereas Judge Brack--like his name--is despicable. Doesn't Hedda shoot herself because of her foreseeable future with both her ineffectual husband and the despicable Brack?"
"Are Norwegians always shooting themselves, Nils?" my grandfather asked in a mischievous way. Harry knew how to push Borkman's buttons; this time, however, Nils resisted a fjord-jumping story--he ignored his old friend and cross-dressing business partner. (Grandpa Harry had played Hedda many times; he'd been Nora in A Doll's House, too--but, at his age, he was no longer suitable for either of these female leads.)
"And what ... weaknesses and other unlikable traits do the male characters in A Doll's House present us with--if I may ask the young Mr. Abbott?" Borkman sputtered, wringing his hands.
"Husbands are not Ibsen's favorite people," Richard Abbott began; there was no pausing to think now--he had all the confidence of youth and a brand-new education. "Torvald Helmer, Nora's husband--well, he's not unlike Hedda's husband. He's both boring and conventional--the marriage is stifling. Krogstad is a wounded man, and a corrupted one; he's not without some redeeming decency, but the weakness word also comes to mind in Krogstad's case."
"And Dr. Rank?" Borkman asked.
"Dr. Rank is of no real importance. We need a Nora or a Hedda," Richard Abbott said. "In Hedda's case, a woman who prizes her freedom enough to kill herself in order not to lose it; her suicide is not a weakness but a demonstration of her sexual strength."
Unfortunately--or fortunately, depending on your point of view--Richard took this moment to glance at Aunt Muriel. Her good looks and opera singer's swaggering bosom notwithstanding, Muriel was not a tower of sexual strength; she fainted.
"Muriel--no histrionics, please!" Grandpa Harry cried, but Muriel (consciously or unconsciously) had foreseen that she did not match up well with the confident young newcomer, the sudden shining star of leading-man material. Muriel had physically taken herself out of the running for Hedda.
"And in the case of Nora ..." Nils said to Richard Abbott, barely pausing to survey my mother's ministrations to her older, domineering (but now fainted) sister.
Muriel suddenly sat up with a dazed expression, her bosom dramatically heaving.
"Breathe in through your nose, Muriel, and out through your mouth," my mother prompted her sister.
"I know, Mary--I know!" Muriel said with exasperation.
"But you're doing it the other way--you know, in through your mouth and out through your nose," my mother said.
"Well ..." Richard Abbott started to say; then he stopped. Even I saw how he looked at my mom.
Richard, who'd lost the toes of his left foot to a lawn-mower accident, which disqualified him from military service, had come to teach at Favorite River Academy directly upon receiving a master's degree in the history of theater and drama. Richard had been born and grew up in western Massachusetts. He had fond memories of family ski vacations in Vermont, when he'd been a child; a job (for which he was overqualified) in First Sister, Vermont, had attracted him for sentimental reasons.
Richard Abbott was only four years older than my code-boy father had been in that photograph--when the sergeant was en route to Trinidad in '45. Richard was twenty-five--my mom was thirty-five. Richard was a whopping ten years younger than my mother. Mom must have liked younger men; she'd certainly liked me better when I was younger.
"And do you act, Miss--" Richard began again, but my mom knew he was speaking to her, and she cut him off.
"No, I'm just the prompter," she told him. "I don't act."
"Ah, but, Mary--" Grandpa Harry began.
"I don't, Daddy," my mother said. "You and Muriel are the actresses," she said, with no uncertain emphasis on the actresses word. "I'm always the prompter."
"About Nora?" Nils Borkman asked Richard. "You were something saying--"
"Nora is more about freedom than Hedda," Richard Abbott confidently said. "She not only has the strength to leave her husband; she leaves her children, too! There is such an untamable freedom in these women--I say, let your actor who will be Hedda or Nora choose. These women own these plays."
As he spoke, Richard Abbott was surveying our amateur theatrical society for possible Heddas or Noras, but his eyes kept coming back to my mother, who I knew was obdurately (forever) the prompter. Richard would not make a Hedda or a Nora out of my follow-the-script mom.
"Ah, well ..." Grandpa Harry said; he was reconsidering the part, either Nora or Hedda (his age notwithstanding).
"No, Harry--not you again," Nils said, his old dictatorial self emerging. "Young Mr. Abbott is right. There must be a certain lawlessness--both an uncontainable freedom and a sexual strength. We need a younger, more sexual activity woman than you."
Richard Abbott was regarding my grandfather with growing respect; Richard saw how Grandpa Harry had established himself as a woman to be reckoned with among the First Sister Players--if not as a sexual activity woman.
"Won't you consider it, Muriel?" Borkman asked my superior-sounding aunt.
"Yes, will you?" Richard Abbott, who was more than a decade younger than Muriel, asked. "You have an unquestionable sexual presence--" he started to say.
Alas, that was as far as young Mr. Abbott got--the presence word, modified by sexual--before Muriel fainted again.
"I think that's a 'no,' if I had to guess," my mom told the dazzling young newcomer.
I already had a bit of a crush on Richard Abbott, but I hadn't yet met Miss Frost.
IN TWO YEARS' TIME, when I sat as a fifteen-year-old freshman in my first morning meeting at Favorite River Academy, I would hear the school physician, Dr. Harlow, invite us boys to treat the most common afflictions of our tender age aggressively. (I am certain that he used the word afflictions; I'm not making this up.) As for what these "most common" afflictions were, Dr. Harlow explained that he meant acne and "an unwelcome sexual attraction to other boys or men." For our pimples, Dr. Harlow assured us there was a variety of remedies. In regard to those early indications of homosexual yearnings--well, either Dr. Harlow or the school psychiatrist, Dr. Grau, would be happy to talk to us.
"There is a cure for these afflictions," Dr. Harlow told us boys; there was a doctor's customary authority in his voice, which was at once scientific and cajoling--even the cajoling part was delivered in a confident, man-to-man way. And the gist of Dr. Harlow's morning-meeting speech was perfectly clear, even to the greenest freshmen--namely, we had only to present ourselves and ask to be treated. (What was also painfully apparent was that we had only ourselves to blame if we didn't ask to be cured.)
I would wonder, later, if it might have made a difference--that is, if I'd been exposed to Dr. Harlow's (or Dr. Grau's) buffoonery at the time I first met Richard Abbott, instead of two years after meeting him. Given what I know now, I sincerely doubt that my crush on Richard Abbott was curable, though the likes of Dr. Harlow and Dr. Grau--the available authorities in the medical sciences of that time--emphatically believed that my crush on Richard was in the category of a treatable affliction.
Two years after that life-changing casting call, it would be too late for a cure; on the road ahead, a world of crushes would open before me. That Friday night casting call was my introduction to Richard Abbott; to everyone present--not least to Aunt Muriel, who fainted twice--it was obvious that Richard had taken charge of us all.
 
; "It seems that we need a Nora, or a Hedda, if we're going to do Ibsen at all," Richard said to Nils.
"But the leafs! They are already color-changing; they will keep falling," Borkman said. "It is the dying time of the year!"
He was not the easiest man to understand, except that Borkman's beloved Ibsen and fjord-jumping were somehow connected to the serious drama, which was always our fall play--and to, no less, the so-called dying time of the year, when the leafs were unstoppably falling.
Looking back, of course, it seems such an innocent time--both the dying time of the year and that relatively uncomplicated time in my life.
About the Author
John Irving published his first novel, Setting Free the Bears, in 1968. He has been nominated for a National Book Award three times - winning once, in 1980, for the novel The World According to Garp. He also received an O. Henry Award, in 1981, for the short story 'Interior Space'. In 1992, he was inducted into the National Wrestling Hall of Fame in Stillwater, Oklahoma. In 2000, he won the Oscar for Best Adapted Screenplay for The Cider House Rules - a film with seven Academy Award nominations. In 2001, he was elected to the American Academy of Arts and Letters.
THE NOVELS
Setting Free the Bears (1968) 'The most nourishing, satisfying novel I have read for years. I admire the hell out of it'
Kurt Vonnegut Jr.
The Water-Method Man (1972) 'Three or four times as funny as most novels'
The New Yorker
The 158-Pound Marriage (1973) 'Deft and hard-hitting'
New York Times
The World According to Garp (1978) 'Absolutely extraordinary...A rollercoaster ride that leaves one breathless'
Los Angeles Times
The Hotel New Hampshire (1981) 'A startlingly original family saga that combines macabre humour with Dickensian sentiment'
Time
The Cider House Rules (1985) 'Difficult to define, impossible not to admire'
Daily Telegraph
A Prayer for Owen Meany (1989) 'A work of genius'
Independent
A Son of the Circus (1994) 'A wide-ranging fiction of massive design that encapsulates our world'
Mail on Sunday
A Widow for One Year (1998) 'Grand farce, comic gusto and a deeply poetic sense of human vulnerability'
Time Out
The Fourth Hand (2001) 'A rich and deeply moving tale...Vintage Irving'
Washington Post
Until I Find You (2006) 'Superbly original...To be read and remembered'
The Times
Last Night in Twisted River (2009) 'A stately, sophisticated rumination on the nature of storytelling - and love'
Marie Claire
In One Person (2012)
'Irving is the wisest, most anguished and funniest novelist of his generation'
Chicago Sun-Times
THE SHORT STORIES
Trying to Save Piggy Snead (1993) 'Supple and energetic'
New York Times Book Review
THE NON-FICTION
The Imaginary Girlfriend (1996) 'Rich, wonderful and diverse'
Denver Post
My Movie Business (1999) 'Instructive, delightful and riveting'
Boston Globe
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SETTING FREE THE BEARS
A BLACK SWAN BOOK: 9780552992060
Version 1.0 Epub ISBN: 9781448111879
First publication in Great Britain
Corgi edition published 1979
Black Swan edition published 1986
Copyright (c) John Irving 1968
John Irving has asserted his right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work.
This book is a work of fiction and, except in the case of historical fact, any resemblance to actual persons, living or dead, is purely coincidental.
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John Irving, Setting Free the Bears
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