Don't go in the rain, Willie, not in the rain. You will catch cold, the doctor will come, you will get pneumonia (Dubin's 68-69). Dubin walking in Venice thinks of death and his mother, an association that recurs throughout Malamud's fiction. He has just begun new biography of D. H. Lawrence after thinking very seriously of writing one instead of Virginia Woolf, whose intelligent imagination and fragile self had drawn him (12). One concludes after reading Dubin's Lives that, despite Quentin Bell's head start, the biographer should have stuck with his original choice. Exuberantly egotistical, Dubin, like many of Malamud's male protagonists, proves incapable of dealing with, much less loving, women.(1) Influenced, no doubt, by Bennington College undergraduates whom he had been teaching for more than two decades, as well as by his daughter, Malamud became increasingly sensitive the problem. Sometime during the five and half years of writing Dubin's Lives he decided devote an entire course Virginia Woolf. He did so in 1979, the year that novel appeared. More than any other novelist, she was filling void in his own experience. Just as Woolf regretted her lack of genuine contact with working-class men and women, so Malamud expressed at this time sense of separation from woman's mind that severely affected his ability draw female characters. Three of his last four published stories, Alma Redeemed, In Kew Gardens, and A Wig (all in The People and Uncollected Stories), attempt penetrate the minds of particular women. Wishing to know things he felt excluded from by virtue of gender and experience, according frequent summer colleague, Richard Elman, Malamud often questioned his students about their personal lives. At party he was apt, unflirtatiously, ask married woman how it felt be having an affair. Elman also recalls his comment that he admired the Russians but had learned more from Virginia Woolf. Let me suggest that in teaching this Woolf course Malamud intended more than preparation for In Kew Gardens, the experimental which synthesizes her life and work. As with Alma Redeemed, which, similarly, synthesizes the biography of Gustav Mahler's wife Alma, Malamud, looking beyond People, was on the verge of something radically new. If the two stories are not particularly accomplished, they reflect method inspired directly, I will argue, by exposure Virginia Woolf.(2) Applying the theory he termed autobiographical essence the lives of two creative women, Malamud seemed poised write, despite one denial, his own portrait of lady.(3) Although he did not consider the two works good enough for book, he was interested in how readers responded his new method. Testing the waters, in 1984 he submitted Alma Redeemed Commentary and few months later In Kew Gardens Partisan Review.(4) Both published stories resemble the unfinished sketches that Virginia Woolf wrote in planning for something more ambitious, one of which, Mrs. Dalloway in Bond Street, Malamud assigned in his course. In Kew Gardens and Alma Redeemed compress into few pages the autobiographies of two talented women, one herself famous, the other married famous man. Malamud's 1983 notes written during sabbatical year at Stanford describe his intention: Start with scene in one life, explicate that as fiction, then go into the biographical element and develop further. You come out, or should, with an invention forward as story, limited but carrying the meaning of the life as short story (People xiv-xv). The biographical method merges with an earlier definition of the short as a way of indicating the complexity of life in few pages, producing the surprise and effect of profound knowledge in short time, condensation that he likens the effect of both drama and poem (Lasher 67). Whether it was baseball, Russian history, or Oregon Indian life, Malamud carefully researched the background for each novel. …
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