Telling “Archibald a Soulbroke” was for Father an exhilarating ordeal, like walking a tightrope over Niagara Falls. It was a long, absurdly funny, excruciatingly tricky tour de force he had to tell fast, and it required beat-perfect concentration. He had to go off alone and rouse himself to an exalted, superhuman pitch in order to pace the hot coals of its dazzling verbal surface. Often enough he returned from his prayers to a crowd whose moment had passed. We knew that when we were grown, the heavy, honorable mantle of this heart-pounding joke would fall on us.
There was another very complicated joke, also in a select category, which required a long weekend with tolerant friends.
You had to tell a joke that was not funny. It was a long, pointless story about a construction job that ended with someone’s throwing away a brick. There was nothing funny about it at all, and when your friends did not laugh, you had to pretend you’d muffed it. (Your husband in the crowd could shill for you: “’Tain’t funny, Pam. You told it all wrong.”)
A few days later, if you could contrive another occasion for joke telling, and if your friends still permitted you to speak, you set forth on another joke, this one an old nineteenth-century chestnut about angry passengers on a train. The lady plucks the lighted, smelly cigar from the man’s mouth and flings it from the moving train’s window. The man seizes the little black poodle from her lap and hurls the poor dog from the same window. When at last the passengers draw unspeaking into the station, what do they see coming down the platform but the black poodle, and guess what it has in its mouth? “The cigar,” say your friends, bored sick and vowing never to spend another weekend with you. “No,” you say, triumphant, “the brick.” This was Mother’s kind of joke. Its very riskiness excited her. It wasn’t funny, but it was interesting to set up, and it elicited from her friends a grudging admiration.
How long, I wondered, could you stretch this out? How boldly could you push an audience—not, in Mother’s terms, to “slay them,” but to please them in some grand way? How could you convince the listeners that you knew what you were doing, that the payoff would come? Or conversely, how long could you lead them to think you were stupid, a dumb blonde, to enhance their surprise at the punch line, and heighten their pleasure in the good story you had controlled all along? Alone, energetic and trying to fall asleep, or walking the residential streets long distances every day, I pondered these things.
Our parents were both sympathetic to what professional comedians call flop sweat. Boldness was all at our house, and of course you would lose some. Anyone could be misled by poor judgment into telling a “woulda hadda been there.” Telling a funny story was harder than telling a joke; it was trying out, as a tidy unit, some raveling shred of the day’s fabric. You learned to gauge what sorts of thing would “tell.” You learned that some people, notably your parents, could rescue some things by careful narration from the category “woulda hadda been there” to the category “it tells.”
At the heart of originating a funny story was recognizing it as it floated by. You scooped the potentially solid tale from the flux of history. Once I overheard my parents arguing over a thirty-year-old story’s credit line. “It was my mother who said that,” Mother said. “Yes, but”—Father was downright smug—“I was the one who noticed she said that.”
The sight gag was a noble form, and the running gag was a noble form. In combination they produced the top of the line, the running sight gag, like the sincere and deadpan Nairobi Trio interludes on Ernie Kovacs. How splendid it was when my parents could get a running sight gag going. We heard about these legendary occasions with a thrill of family pride, as other children hear about their progenitors’ war exploits.
The sight gag could blur with the practical joke—not a noble form but a friendly one, which helps the years pass. My parents favored practical jokes of the sort you set up and then retire from, much as one writes books, possibly because imagining people’s reactions beats witnessing them. They procured a living hen and “hypnotized” it by setting it on the sink before the bathroom mirror in a friend’s cottage by the New Jersey shore. They spent weeks constructing a ten-foot sea monster—from truck inner tubes, cement blocks, broomsticks, lumber, pillows—and set it afloat in a friend’s pond. On Sanibel Island, Florida, they baffled the shell collectors each Saint Patrick’s Day by boiling a bucketful of fine shells in green dye and strewing the green shells up and down the beach before dawn. I woke one Christmas morning to find in my stocking, hung from the mantel with care, a leg. Mother had charmed a department store display manager into lending her one.
When I visited my friends, I was well advised to rise when their parents entered the room. When my friends visited me, they were well advised to duck.
Central in the orders of merit, and the very bread and butter of everyday life, was the crack. Our mother excelled at the crack. We learned early to feed her lines just to watch her speed to the draw. If someone else fired a crack simultaneously, we compared their concision and pointedness and declared a winner.
Feeding our mother lines, we were training as straight men. The straight man’s was an honorable calling, a bit like that of the rodeo clown: despised by the ignorant masses, perhaps, but revered among experts who understood the skills required and the risks run. We children mastered the deliberate misunderstanding, the planted pun, the Gracie Allen know-nothing remark, which can make of any interlocutor an instant hero.
How very gracious is the straight man!—or, in this case, the straight girl. She spreads before her friend a gift-wrapped, beribboned gag line he can claim for his own, if only he will pick it up instead of pausing to contemplate what a nitwit he’s talking to.
Our father’s parents live in Pittsburgh; Amy and I dined with them, rather formally, every Friday night until dancing school swept us away. Our grandfather’s name was, like our father’s, Frank Doak. He was a banker, a potbellied, bald man with thin legs: a generous-hearted, joking, calm Pittsburgher of undistinguished Scotch-Irish descent, who held his peace. Our grandmother’s name was Meta Walten-burger Doak. We children called her Oma, accenting both syllables. She was an imperious and kindhearted grande dame of execrable taste, a tall, potbellied redhead, the proud descendant and heir of well-to-do Germans in Louisville, Kentucky, who boasted that she never worked a day in her life. Our father was their only child.
Every summer these grandparents moved to their summer house on the shore of Lake Erie, near North Madison, Ohio, and every summer Amy and I moved in with them for a month or two. With them also lived Mary Burinda, a thin woman who still carried a buzzing trace of Hungarian at the tip of her tongue, and who cooked and cleaned and warmly befriended both our grandmother and us; and Henry Watson, a Pittsburgh man who drove the car, tended the grounds, and served dinner.
Oma was odd about money. One ordinary summer afternoon at Lake Erie, I found a penny in the sand.
“Money!” Oma said. “If you’ve found money, don’t touch it with your bare hands. You don’t know who has touched it.”
My bare hands? Oma, Amy, and I had been swimming at the beach below the house when I found the penny. Now I was to bring it to Oma for safekeeping, and go wash my hands in the Lake as well as I could. This washing ought to hold calamity at bay until we could get to the bathhouse to take showers.
Oma had told me that when she was in her teens, she had sewed rows of lace on her chemises, to bring her bust forward. It was hard to believe. By the time I knew her, her bust was enormous. Walking beside Amy and me up the path to the bathhouse, she cut an imposing figure: her legs were long and fine, her hips slender, her carriage erect. She wore her red hair short, in waves. Her face was round; her head was round and slightly flattened vertically, like Raggedy Ann’s. Her blue