Maestro

It was the last daylight hour of a December afternoon more than twenty years ago—I was twenty-three, writing and publishing my first short stories, and like many a Bildungsroman hero before me, already contemplating my own massive Bildungsroman—when I arrived at his hideaway to meet the great man. The clapboard farmhouse was at the end of an unpaved road twelve hundred feet up in the Berkshires, yet the figure who emerged from the study to bestow a ceremonious greeting wore a gabardine suit, a knitted blue tie clipped to a white shirt by an unadorned silver clasp, and well-brushed ministerial black shoes that made me think of him stepping down from a shoeshine stand rather than from the high altar of art. Before I had composure enough to notice the commanding, autocratic angle at which he held his chin, or the regal, meticulous, rather dainty care he took to arrange his clothes before sitting—to notice anything, really, other than that I had miraculously made it from my unliterary origins to here, to him—my impression was that E. I. Lonoff looked more like the local superintendent of schools than the region’s most original storyteller since Melville and Hawthorne.

Not that the New York gossip about him should have led me to expect anything more grand. When I had recently raised his name before the jury at my first Manhattan publishing party—I’d arrived, excited as a starlet, on the arm of an elderly editor—Lonoff was almost immediately disposed of by the wits on hand as though it were comical that a Jew of his generation, an immigrant child to begin with, should have married the scion of an old New England family and lived all these years “in the country”—that is to say, in the goyish wilderness of birds and trees where America began and long ago had ended. However, since everybody else of renown I mentioned at the party also seemed slightly amusing to those in the know, I had been skeptical about their satiric description of the famous rural recluse. In fact, from what I saw at that party, I could begin to understand why hiding out twelve hundred feet up in the mountains with just the birds and the trees might not be a bad idea for a writer, Jewish or not.

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