Class and Identity Theme Analysis

Plano. The word conjures up drive-ins, tract homes, waves of heat rising from the blacktop. My years there created for me an expendable past, disposable as a plastic cup. Which I suppose was a great gift, in a way. On leaving home I was able to fabricate a new and far more satisfying history, full of striking, simplistic environmental influences; a colorful past, easily accessible to strangers.

If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon?

“Well, they painted it with a dado, sort of, those awful Gucci stripes. It was in all kinds of magazines. House Beautiful had it in some ridiculous article they did on Whimsy in Decorating or some absurd idea—you know, where they tell you to paint a giant lobster or something on your bedroom celling and it’s supposed to be very witty and attractive.” He lit a cigarette. “I mean, that’s exactly the kind of people they are,” he said. “All surface. Bunny was the best of them by a long shot[. . .]”

It has always been hard for me to talk about Julian without romanticizing him. In many ways, I loved him the most of all; and it is with him that I am most tempted to embroider, to flatter, to basically reinvent. I think that is because Julian himself was constantly in the process of reinventing the people and events around him, conferring kindness, or wisdom, or bravery, or charm, on actions which contained nothing of the sort. It was one of the reasons I loved him: for that flattering light in which he saw me, for the person I was when I was with him, for what it was he allowed me to be.