“Didn’t you hear anything last night?” she said.
“No.”
“You didn’t hear Tom and Dad shouting? You didn’t hear doors slamming?”
“No!”
She gathered me in her arms, which was probably the main thing I’d been dreading. I stood there stiffly while she hugged me. “Tom and Dad had a terrible fight,” she said. “After you went to bed. They had a terrible fight, and Tom got his things and left the house, and we don’t know where he went.”
“Oh.”
“I thought we’d hear from him today, but he hasn’t called, and I’m frantic, not knowing where he is. I’m just frantic!”
I squirmed a little in her grip.
“But this has nothing to do with you,” she said. “It’s between him and Dad and has nothing to do with you. I’m sure Tom’s sorry he won’t be here to see your play. Or maybe, who knows, he’ll be back by Friday and he will see it.”
“OK.”
“But I don’t want you telling anyone he’s gone until we know where he is. Will you agree not to tell anyone?”
“OK,” I said, breaking free of her. “Can we turn the air-conditioning on?”
I was unaware of it, but an epidemic had broken out across the country. Late adolescents in suburbs like ours had suddenly gone berserk, running away to other cities to have sex and not go to college, ingesting every substance they could get their hands on, not just clashing with their parents but rejecting and annihilating everything about them. For a while, the parents were so frightened and so mystified and so ashamed that each family, especially mine, quarantined itself and suffered by itself.
When I went upstairs, my bedroom felt like an overwarm sickroom. The clearest remaining vestige of Tom was the Don’t Look Back poster that he’d taped to a flank of his dresser where Bob Dylan’s psychedelic hairstyle wouldn’t always be catching my mother’s censorious eye. Tom’s bed, neatly made, was the bed of a kid carried off by an epidemic.
In that unsettled season, as the so-called generation gap was rending the cultural landscape, Charles Schulz’s work was uniquely beloved. Fifty-five million Americans had seen A Charlie Brown Christmas the previous December, for a Nielsen share of better than fifty percent. The musical You’re a Good Man, Charlie Brown was in its second sold-out year on Broadway. The astronauts of Apollo X, in their dress rehearsal of the first lunar landing, had christened their orbiter and landing vehicle Charlie Brown and Snoopy. Newspapers carrying “Peanuts” reached more than 150 million readers, “Peanuts” collections were all over the bestseller lists, and if my own friends were any indication, there was hardly a kid’s bedroom in America without a “Peanuts” wastebasket or “Peanuts” bedsheets or a “Peanuts” wall hanging. Schulz, by a luxurious margin, was the most famous living artist on the planet.
To the countercultural mind, the strip’s square panels were the only square thing about it. A begoggled beagle piloting a doghouse and getting shot down by the Red Baron had the same antic valence as Yossarian paddling a dinghy to Sweden. Wouldn’t the country be better off listening to Linus Van Pelt than to Robert McNamara? This was the era of flower children, not flower adults. But the strip appealed to older Americans as well. It was unfailingly inoffensive (Snoopy never lifted a leg) and was set in a safe, attractive suburb where the kids, except for Pigpen, whose image Ron McKernan of the Grateful Dead pointedly embraced, were clean and well-spoken and conservatively dressed. Hippies and astronauts, the rejecting kids and the rejected grownups, were all of one mind here.
An exception was my own household. As far as I know, my father never in his life read a comic strip, and my mother’s interest in the funnies was limited to a single-panel feature called “The Girls,” whose generic middle-aged matrons, with their weight problems and stinginess and poor driving skills and weakness for department-store bargains, she found just endlessly amusing.
I didn’t buy comic books, not even Mad magazine, but I worshipped at the altars of Warner Bros, cartoons and the funnies section of the St. Louis Post-Dispatch. I read the section’s black-and-white page first, skipping the dramatic features like “Steve Roper” and “Juliet Jones” and glancing at “Li’l Abner” only to satisfy myself that it was still trashy and repellent. On the full-color back page I read the strips strictly in reverse order of preference, doing my best to be amused by Dagwood Bumstead’s midnight snacks and struggling to ignore the fact that Tiger and Punkinhead were the kind of messy, unreflective kids whom I disliked in real life, before I treated myself to my favorite strip, “B.C.” The strip, by Johnny Hart, was caveman humor. Hart wrung hundreds of gags from the friendship between a flightless bird and a long-suffering tortoise who was constantly attempting unturtlish feats of agility and flexibility. Debts were always paid in clams; dinner was always roast leg of something. When I was done with “B.C.,” I was done with the paper.
The comics in St. Louis’s other paper, the Globe-Democrat, which my parents didn’t take, seemed bleak and foreign to me. “Broom Hilda” and “Funky Winkerbean” and “The Family Circus” were off-putting in the manner of the kid whose partially visible underpants, which had the name CUTTAIR hand-markered on the waistband, I’d stared at throughout my family’s tour of the Canadian parliament. Although “The Family Circus” was resolutely unfunny, its panels clearly were based on some actual family’s humid, baby-filled home life and were aimed at an audience that recognized this life, which compelled me to posit an entire subspecies of humanity that found “The Family Circus” hilarious.
I knew very well, of course, why the Globe-Democrat’s cartoons were so lame: the paper that carried “Peanuts” didn’t need any other good strips. Indeed, I would have swapped the entire Post-Dispatch for a daily dose of Schulz. Only “Peanuts,” the strip we didn’t get, dealt with stuff that really mattered. I didn’t for a minute believe that the children in “Peanuts” were really children—they were so much more emphatic and cartoonishly real than anybody in my own neighborhood—but I nevertheless took their stories to be dispatches from a universe of childhood more substantial and convincing than my own. Instead of playing kickball and Four Square, the way my friends and I did, the kids in “Peanuts” had real baseball teams, real football equipment, real fistfights. Their relationships with Snoopy were far richer than the chasings and bitings that constituted my own relationships with neighborhood dogs. Minor but incredible disasters, often involving new vocabulary words, befell them daily. Lucy was “blackballed by the Bluebirds.” She knocked Charlie Brown’s croquet ball so far that he had to call the other players from a phone booth. She gave Charlie Brown a signed document in which she swore not to pull the football away when he tried to kick it, but the “peculiar thing about this document,” as she observed in the final frame, was that “it was never notarized.” When Lucy smashed the bust of Beethoven on Schroeder’s toy piano, it struck me as odd and funny that Schroeder had a closet full of identical replacement busts, but I accepted it as humanly possible, because Schulz had drawn it.
To the Peanuts Treasury I soon added two other equally strong hardcover collections, Peanuts Revisited and Peanuts Classics. A well-meaning relative once also gave me a copy of Robert Short’s bestseller, The Gospel According to Peanuts, but it couldn’t have interested me less. “Peanuts” wasn’t a portal on the Gospel. It was my gospel.
Chapter 1, verses 1–4, of what I knew about disillusionment: Charlie Brown passes the house of the