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Coldness and Civility<br />
Michael and Ryan’s breakup so I won’t add any <strong>of</strong> <strong>the</strong> new details<br />
here—you’re sure to be able to invent better ones on your own in any<br />
case. I don’t know if you’ve talked to Ryan about Corey. Trust me that<br />
<strong>the</strong>re is not one thing I could tell you that you couldn’t anticipate. Very<br />
predictable.) I am demanding, indeed, your help at achieving a very<br />
particular and simple aim. So I think we have plotting to do. Ryan was<br />
quite mean to Michael. Remember he left him right after <strong>the</strong> contract<br />
fell through and didn’t wait even two weeks before moving dishy little<br />
Corey in. I think that we should find someone Corey cannot resist and<br />
send him his way. It is just <strong>the</strong> right shade <strong>of</strong> mean and it will not be<br />
our fault if Corey falls for our lure. So we will be quite blameless, we<br />
can avenge our Michael, and we can exact covert revenge on Ryan. So<br />
are you in? I’ll call you with details. Will you help me?<br />
Did you believe that I was serious, Marianne? Had you chosen<br />
<strong>the</strong> man? If you believed that I wanted to do something like that you<br />
are more lost in a fantasy world than is healthy, darling. I think you are<br />
oversteeped in your novels <strong>of</strong> manners. You must read for more than<br />
plot and you must remember <strong>the</strong> humor with which <strong>the</strong>y were, if not<br />
written, read. (Although I am perhaps not being totally fair. I am<br />
thinking <strong>of</strong> course <strong>of</strong> Jane Austen’s total disdain for Laclos and Richardson<br />
coupled with her inability to not love <strong>the</strong>m and reference <strong>the</strong>m. 9 But<br />
from that position, she recognized that <strong>the</strong>y were indeed novels, dear,<br />
pieces <strong>of</strong> fiction about <strong>the</strong> end <strong>of</strong> civilization as some particular groups<br />
knew it. I mean look, <strong>the</strong>re she is bridging <strong>the</strong> vulgarity <strong>of</strong> <strong>the</strong> eighteenth<br />
century and <strong>the</strong> fussiness <strong>of</strong> <strong>the</strong> nineteenth reading <strong>the</strong>se mannered<br />
novels descriptive <strong>of</strong> o<strong>the</strong>r cusps. You cite <strong>the</strong> Idiot at me and<br />
that too, it strikes me, is a novel <strong>of</strong> manners, although I realize I am in<br />
<strong>the</strong> minority position writing that down, committing it to print. It<br />
seems to me that you assimilate <strong>the</strong> characters into your consciousness<br />
as some sort <strong>of</strong> exemplars <strong>of</strong> model behavior, but darling, surely you<br />
notice <strong>the</strong> moral bankruptcy <strong>of</strong> <strong>the</strong>se men and women.)<br />
Second paren<strong>the</strong>tical. It is interesting to me that <strong>the</strong> novels you<br />
choose to reference are so sanctioned. You never refer to anything that<br />
is not a classic. For <strong>the</strong> points you made throughout your last much too<br />
long last letter—Marianne, sweetness and light, you must write shorter<br />
letters to me, I am a very busy woman—Genet’s Funeral Rites would<br />
have been much more appropriate. I know that before I begin you will<br />
be thinking that <strong>the</strong>re is no certain love <strong>the</strong>re. Jean is dead. How can<br />
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