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Authors: Joanna Hershon
A Dual Inheritance
Praise for
A Dual Inheritance
“This brilliant family saga captured me from its opening lines and kept me pinned to the couch—by turns laughing and sobbing—until I’d reached its stunning, satisfying conclusion. It calls to mind
The Corrections
and
The Emperor’s Children
, as well as Cheever and Michener and Potok, but this is also a novel squarely in the tradition of Victorian social realism, of Eliot and Galsworthy and Dickens.
A Dual Inheritance
is a cracking story—populated with complicated, fascinating characters and fueled by surprising turns of plot—but it’s also a deft analysis of class and race in America. With it, Hershon establishes herself as one of the most important storytellers of the new millennium.”
—J
OANNA
S
MITH
R
AKOFF
, author of
A Fortunate Age
“This insightful, worldly, and engaging novel, at once intimate and broad in scope, traverses continents and decades while hewing closely to the psychological shadings of its characters. A rueful comedy of entitlements and chagrins, it says volumes about the way we live now.”
—P
HILLIP
L
OPATE
, author of
Getting Personal
“Joanna Hershon’s splendid new novel explores the choices of a generation through the lives of two friends—inextricably bound, in love with the same woman, and at war with themselves. Hershon creates a sprawling, spellbinding narrative that is as intimate with the lives of relief workers in Africa as it is with the inner workings of the boardrooms of Wall Street.
A Dual Inheritance
is stunningly wrought, compulsively readable, and Hershon’s strongest work yet by far.”
—H
ELEN
S
CHULMAN
, author of
This Beautiful Life
“A grand, engrossing, ambitious, and memorably populated novel. Hurray for Joanna Hershon!”
—E
LISA
A
LBERT
, author of
The Book of Dahlia
“The intensely detailed love triangle is reminiscent of an East Coast elite answer to the Midwestern trio of
Freedom
, but with mere keen observation in place of that other novel’s sweeping moral pronouncements. Hershon explores the ways we can, and can’t, escape our backgrounds.”
—Publishers Weekly
(starred review)
A Dual Inheritance
is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
Copyright © 2013 by Joanna Hershon
All rights reserved.
Published in the United States by Ballantine Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
BALLANTINE and colophon are registered trademarks of Random House, Inc.
Back On The Chain Gang, Words and Music by Chrissie Hynde © 1982
EMI MUSIC PUBLISHING LTD. trading as CLIVE BANKS SONGS. All Rights Controlled and Administered by EMI APRIL MUSIC INC. All Rights Reserved. International Copyright Secured. Used by Permission.
Reprinted by Permission of Hal Leonard Corporation
.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Hershon, Joanna.
A dual inheritance : a novel / Joanna Hershon.
pages cm
eISBN: 978-0-345-53880-2
I. Title.
PS3558.E788D83 2013
813′.54—dc23 2012046548
Cover design and lettering: Anna Bauer
Cover photograph: akg-images Ltd./Ullstein Bild
v3.1
I found a picture of you,
Oh what hijacked my world that night
To a place in the past we’ve been cast out of,
Oh now we’re back in the fight.
—CHRISSIE HYNDE
Contents
Chapter Seven,
Summer, New York City
Chapter Eight,
Dar es Salaam, Tanzania, 1970
Chapter Nine,
New York City, 1970
Chapter Ten,
New York City, 1971–1972
Chapter Eleven,
Port-au-Prince, Haiti, 1982
Chapter Twelve,
New York City, 1982–1983
Chapter Thirteen,
The Woods and the World
Chapter Fifteen,
Caribbean Queen
Chapter Seventeen,
Columbia and Beyond, 1989–2004
Chapter Eighteen,
Africa, April 2005
Chapter Nineteen,
An Invitation, 2010
Chapter Twenty,
The Wedding, 2010
Chapter Twenty-one,
Fishers, 2010
Dual inheritance theory (DIT), also known as gene-culture coevolution, was developed in the late 1970s and early 1980s to explain how human behavior is a product of two different and interacting evolutionary processes: genetic evolution and cultural evolution.
Part One
1962–1963
Chapter One
Fall
Had he described Hugh Shipley at all over the past three years,
approachable
would not have been a word he’d ever have used. But one warm autumn night during his senior year, Ed Cantowitz found himself grabbing Hugh Shipley’s arm in front of Lamont Library the way he might otherwise grab a Budweiser at Cronin’s. They were not friends; they’d spoken only in passing this year, and mostly after the Shakespeare seminar in which they were both enrolled, but Ed Cantowitz was not thinking of how Hugh Shipley might find him off-putting or offensive, because, as usual, Ed Cantowitz was thinking about himself.
“Keep walking,” muttered Ed, and that’s what Hugh Shipley did. He walked as if he hadn’t even noticed the interruption, didn’t so much as slow the trajectory of his cigarette from hand to mouth. Ed watched the cigarette and the dry fallen leaves on the ground—anything not to turn around and stare at the girl. “Do me a favor and keep walking and don’t turn around. Do
yourself
a favor and just look straight ahead.”
Shipley nodded. “Might want to take your hand off my arm,” and Ed released his grip before offering a crazed smile as an afterthought, if not an apology. He knew he had a menacing voice, not to mention truly dark stubble (he’d forgone his much-needed second shave of the day), and his husky voice and bulldog build lent him not only an unsavory but
even vaguely criminal air. Ed usually alternated between being pleased by these qualities and ashamed, but at the moment he was so focused he didn’t care what Shipley thought. The two young men walked down steps and past a stand of pine trees, kicking crabapples out of their path, and Ed talked. “This girl,” he said, and Shipley nodded again. Ed didn’t sound embarrassed, because he wasn’t embarrassed. This, he believed, is what men did for one another, all kinds of men, he didn’t care who; in the face of beautiful women, men were allied soldiers, at least until proven otherwise. “I can’t stop staring at this girl, but I’m under no illusions that I don’t need strategy. You? You don’t know a thing about strategy, am I right? Because you don’t need it. I need strategy—and make no mistake about it, strategy does work—but when I held open the door for that girl just then, I knew if I let myself do something about her, it would have been the wrong thing. I needed to save myself from myself, as they say. Listen, can you tell me if she’s still there behind us? Petite girl, big eyes—she’s actually kind of cross-eyed—really really really nice knockers?”
Hugh Shipley looked slyly right behind them. He reported that he no longer saw the girl. “Hadn’t noticed she was cross-eyed.”
“Slightly,” said Ed, stopping suddenly, short of breath. “Only if you look closely.”
“Well,” said Hugh, “glad to help.” He sounded sincere, but Ed knew he might have missed the sarcastic edge. It wouldn’t have been the first time. Ed was not a nerd—no, sir—but at this point in his college career, he had to acknowledge that he was—to put it kindly—an outsider. Being at ease around groups of other people—especially lighthearted other people—was not his strong suit.
He’d barely spoken to Shipley in the three years they’d been classmates; they’d had no reason to speak. Ed was on scholarship and was a rigorous and nakedly ambitious student with a government concentration and a gift for statistics. He was preparing to write his senior thesis on how China would dominate the twenty-first century. Hugh, on the other hand, skipped classes, often smelled like whiskey, and was rumored to be working with a lapsed graduate student on some kind of
anthropology film project. He towered over Ed at roughly six foot four, and he was, of course, a Shipley, which lent everything he did a kind of simultaneous legitimacy and scandal. He’d grown up in the famous Brookline home of Clarissa Cadence Shipley—a ubiquitous stop on any Historical Homes of Boston tour. Ed had no idea how he knew this; the family was exactly that famous—one simply knew these things. One also often saw Hugh carrying a camera tripod and wearing dungarees as if he were headed off to the African savanna instead of crossing the street between classes, but—and this was the salient point—there was nothing comical about him. He looked as if he might, in fact, be more comfortable amidst a pride of lions.
“So it’s Friday,” Ed declared. “Friday night.” He tried—unsuccessfully—not to laugh, which he often did when he had excess energy, which he certainly did just then. Sometimes his laughter came from shortness of breath, sometimes it even came from anger, but Ed was—as the expression went—quick to laugh. He was quick, in fact, with everything except a joke. Jokes he hated; they were never funny.
“I’m sorry I’m laughing,” said Ed. He understood that he seemed strange, even vaguely crazy, and promised himself he would not be surprised if Hugh walked away right then.
But Hugh only nodded, as if he was waiting for Ed to stop. Then he stubbed out the cigarette on his shoe and began to strip it down. The wind carried the filter away and Ed stopped laughing.
Hugh grinned and shook his head. “Some strategy.”
“How do you mean?”
“Well, after all that bluster, you’re without a date on a Friday night.” Hugh opened and closed his hands as if they’d been aching. “Maybe you should have figured out a strategy while you actually had the chance.”
“Hey,” said Ed, nodding toward Hugh’s hands, “you got circulation problems or something?”
Hugh looked at his fingers as if he’d noticed them for the first time. “I guess.”
“It’s the smoking. Something about the tobacco. I read it somewhere.”
Hugh’s fingers were long and lean, aristocratic yet manly, and they impressed Ed more than the expensive clothes, carelessly worn, that signaled a prep-school past or the athletic gait and suntanned face. It was Hugh’s hands that evoked in Ed Cantowitz a rare feeling of intimidation, but just as he was prepared to give over to the feeling, to acknowledge and make room for its uncomfortable presence, the intimidation was gone and what was left in its place surprised him: interest, plain and simple. He was rarely truly interested in other people, and, when he was, it was as if he had an intellectual obligation to follow through on it.
And something was nagging at him. He kept thinking of the Shakespeare seminar that Hugh and he were both taking, and how—maybe because Ed was alternately too willing to acknowledge that he understood little of what Shakespeare was talking about more than half the time or was overexcited about how much he
did
understand, and maybe because, okay, he tended to speak up more than most of his fellow students—Ed was laughed at, and often. He was used to being laughed at in class and didn’t act offended—never looking away, preferring instead to look around at all the laughing faces—but of course he was offended. And when he looked around the room, there was one face that was never laughing, and that was Hugh Shipley’s. Hugh always sat in the same aisle seat, his legs outstretched and inadvertently tripping the professor, who was fond of pacing as he taught. Hugh Shipley never laughed at Ed. And this fact was nagging at him and making it somehow essential that Hugh not walk away. He also wondered, as he always did when standing beside another man, whether—though Shipley had a good eight inches on him—he could take him in a fight.