Narratives Of The City & # 8211 ; Book Report Essay, Research Paper

Christoph Jeff Micklon s

Book Report

FOR

ENG 744.3

Gay Literature

Dr. John Bowers

Spring 1996

Narratives of the City

Armistead Maupin

When you sense the fondness where people enfold their loving kindness you are likely amidst the renters of 28 Barbary Lane, San Francisco 94109. Possibly renters is the incorrect word, it should be something more like a friendly community of people. In Tales of the City, by Armistead Maupin, the characters are intertwined with togetherness. The female parent of all female parents, the landlady, defender of all who live under her roof, orchestrates an unfolding narrative that is capturing and obliging. It Is her love that permeates the other characters within this narrative.

This sequence of narrative snippings was originally introduced to San Francisco Chronicle readers back in 1976. It is because of this that each sub-story, or chapter in the book, is a self prolonging narrative in itself, more so than most chapter arranged narrations. This book is the first volume in a series, that chronicles the life of a little figure of San Francisco occupants. With each new chapter there is a personal development for the characters within. It is this sense of development that is most of import for the continuity of Tales of the City. The development neatly meshes the character s lives with one another, boulder clay finally the merchandise is a mass development.

It is interesting to observe that the authorship manner Mr. Maupin uses to steer the narrative forward is consistent throughout the book. Chapters necessarily commence with a character s response to the given state of affairs. There are several goings from this manner, which are explained further on in this book study.

The chapters are suited for the readers of a newspaper. Each is short, normally between two and four pages in length. This makes the reading simple to digest. Each chapter equates to an single episodes of a telecasting soap opera. Chapters link their piquant scenarios together to organize a wont forming series. The first thirty-one chapters amply demo the writer s intended way & A ; intent for the full novel.

& # 8220 ; Taking the Plunge & # 8221 ; ch.1 p.1-3: This is the debut of the unfolding Mary Ann Singleton & A ; the expeditious Connie Bradshaw. Vacationing in San Francisco for eight yearss Mary Ann discovers that she wishes to get away her place and stay in San Francisco. She attempts to convert her female parent she is making the right thing. Haplessly she is non even certain herself about this. Confronting her lodging state of affairs head-on Mary Ann asks her friend, Connie, if she can reside up with her boulder clay she finds her ain tablet.

& # 8220 ; Connie s Place & # 8221 ; ch.2 p.4-7: Mary Ann moves into Connie s flat. She believes her new life will get down shortly. The two new roomies reminisce about their childhood together, non looking frontward but looking back. Mary Ann discovers a countless Cologne aggregation in Connie s bathroom cabinet. Connie is still popular with the work forces, a quality she is endeavoring for in her new life.

& # 8220 ; A Frisco Disco & # 8221 ; ch.3 p.8-11: Mary Ann & A ; Connie go out clubbing together for different grounds. Marry Ann pretends to undress her artlessness, but her efforts do non work. Due to her inability to set aside her starched values she turns down a sexual progress from a adult male. With the dark s failure, and without Connie, she goes home early.

& # 8220 ; Her New Home & # 8221 ; ch.4 p.12-15: This is the debut of the lovingness & A ; passionate Anna Madrigal. Mary Ann had adequate exposure of Connie s Trix. Out of the three topographic points the rental bureau sent her, Mary Ann discovers that 28 Barbary Lane is where her new fetid place will be. Once back at Connie s flat, Connie suggests they meet at the Safeway for another adult male Hunt.

& # 8220 ; Love with the Proper Shopper & # 8221 ; ch.5 p.16-19: This is one of the lone chapters where scenery is in topographic point before the debut of characters. The food market is more paramount to the characters than the other manner around. This is because by its really nature Safeway is a topographic point where people are compelled to congregate. Mary Ann begrudgingly gets a lesson on how to pick up work forces from Connie. Once entirely Mary Ann is besieged by a adult male asking particulars on Chinese cookery. She is repulsed by the overt scenario and rapidly dumps him into the frozen nutrient subdivision. To her defeat the 2nd unit of ammunition of interaction is with a beautiful adult male who is non at that place to pick up misss, he was merely being friendly. He had no purposes of picking her up, viz. because he was homosexual. Mary Ann s emotions dip to her foundation, when she realizes that once more she is unsuccessful at hammering her new life.

& # 8220 ; Connie s Bummer Night & # 8221 ; ch.6 p.20-23: Connie arrives back from Safeway, as she puts it, & # 8220 ; with no weirdoes. & # 8221 ; Mary Ann turns down Connie s invitation to travel out yet once more to happen tonight s Trix. The dark base on ballss and Connie still does non hold a adult male, one that substitutes for a significance relationship, to predominate by her side. The following twenty-four hours Mary Ann takes her alone bag and what perchance is everlastingly, leaves behind Connie for 28 Barbary Lane. She has experienced one side of San Francisco that does non appeal to her. Traveling on to the following state of affairs, she continues on her way for a new life, go forthing Connie on her ain.

& # 8220 ; The Employment Line & # 8221 ; ch.7 p.24-27: During her first twenty-four hours in her really ain flat Mary Ann seeks to carry through her horoscope by availing herself to the Metropolitan Employment Agency. Her poster was deceivingly guiltless. A crimson Mr. Creech decided that he wanted a miss Friday for more than merely office work. Mary Ann fell back on her hometown ethical motives and declared she was so edgy about that type of work. Not being able to defy the rejection, she cried herself to kip. After she woke up she wrote a deceivingly optimistic missive to her parents. Anna intuitively knew of Mary Ann s problems that twenty-four hours. She consoled Mary Ann with a neatly rolled articulation and a missive of support welcoming her. Mary Ann genuinely needed a friend in her new life.

& # 8220 ; Enter Mona & # 8221 ; ch.8 p.28-31: This is the debut of the curiously free Mona Ramsey & A ; the steadfast Edgar Halcyon. While taking out the refuse, Mary Ann meets head on with Mona, another renter. Mona uncovers her quaint Franciscan nature by uncovering the secrets held in Mary Ann s refuse. Mona seeking to be friendly, invites her up for tea and a confab. With Mona s connexion at work, Mary Ann successfully interviews with Edgar Halcyon of Halcyon Communications.

& # 8220 ; The Ad Game & # 8221 ; ch.9 p.32-34: This is the debut of the flippant & A ; troubled Beauchamp Day. Some clip has passed and Mary Ann has settled into her new occupation as the personal secretary for Edgar Halcyon. Beauchamp is described in great formidable item. He is irreverent, married and chat uping with Mary Ann. He asks her to lunch that afternoon. Exposed to another moral quandary, Mary Ann, begins to believe that her thoughts of morality need to be modified to allow her see her new life.

& # 8220 ; Edgar Blows Up & # 8221 ; ch.10 p.35-38: Concerned for his girl s matrimony, Edgar confronts Beauchamp on his whereabouts the dark before. The chapter turns to Mary Ann & A ; Mona holding a friendly tiffin together. Subsequently on Mona asks Anna if Mary Ann knows about Anna s secret. A enigma that is frugally explained in chapter 105, is left unreciprocated in this chapter. This helps develop Anna s close individuality.

& # 8220 ; Anguish in Bohemia & # 8221 ; ch.11 p.39-42: This is the debut of the aristocratic Frannie Halcyon. Edgar calls Frannie on the phone to do up an alibi for non coming place that flushing. Suspecting misrepresentation, Frannie becomes contentious. After acquiring off the phone with Frannie, Edgar admits to himself that Ruby Miller might every bit good have been his kept woman. The chapter diverts to a conversation at Beauchamp s societal nine. Drugs were used by a club member. Both of these state of affairss shatter high societies atmosphere. The lives of the rich are non perfect.

& # 8220 ; The Wrath of DeDe & # 8221 ; ch.12 p.43-45: Beauchamp realizes that DeDe was waiting for him to take her to a societal ladder mounting party. He begrudgingly rushes place to drive around her to this societal captivity. Once home the two wrangle about DeDe naming up her male parent the old dark. The wrangle ends when DeDe pronounces that Beauchamp is obligated to her male parent. The undertone here is that Beauchamp does non enjoy the thought that he is non of the same societal category of his married woman. He resents when he feels inferior, and frustrated when he has to populate up to the societal category. With this little victory, DeDe can declare that she knew about the tiffin day of the month with Mary Ann Singleton. Behind those words she suspects unfaithfulness. This disruptive struggle forces Beauchamp to jejunely revenge in chapter 22.

& # 8220 ; The Landlady s Dinner & # 8221 ; ch.13 p.46-50: Mary Ann s artlessness surfaces once more when she does non recognize that Mona s offer of coke was non a Cola. Mona farther exposes her degenerate nature when she produces nutrient casts when it is obvious that she is doing adequate money non to necessitate them. But Mary Ann does non recognize that Mona did necessitate them at one clip and merely kept them. During Anna s dinner party Mary Ann is offered more articulations and loutish company. Bored with Anna s plastic invitees, Mary Ann wanders into the bathroom and noticed a portion of Anna s past. Anna comes in to uncover that her name is assumed and that she was ne’er married. The conversation leads to work forces. Anna assures Mary Ann that she will happen a adult male in San Francisco that is non cheery.

& # 8220 ; Rendezvous with Ruby & # 8221 ; ch.14 p.51-53: This is the debut of the devoted Ruby Miller. This is another chapter that begins with puting the scene before interacting with the characters. In this instance it is necessary to make this because the scene is demoing the environment that Ruby lives in, than the individual herself. She is made out to be a born, bred, lower-middle category Christian solider. The chapter name and the actions seem really much like a mid-evening rendezvous for a band aid. The chapter s purpose is to dumfound the reader. Ruby starts pressing her fingertips against Edgar s temples. The action appears to prelude a sexual act. Then the following sentence blunts the senesces by doing it cognize that Ruby is spiritually curative Edgar. Blam! The chapter ends without warning.

& # 8220 ; The Boy Next Door & # 8221 ; ch.15 p.54-56: This is the debut of the meandering & A ; highly-sexed Brian Hawkins. Mary Ann reads her mail. There is an feeling that she is really lonely in her new universe. Anna intervenes by directing up Brian Hawkins. He had no thought of the ground why Anna would inquire him to travel up and see Mary Ann, but the visible radiation dawned for her. She explained that she had merely told Anna that there were non adequate consecutive work forces in San Francisco. He invited her up to his flat, which was short and agreeable.

& # 8220 ; The Matriarch & # 8221 ; ch.16 p.57-59: Edgar returns place after his meeting, and makes up an intricate prevarication about it. It is apparent that Frannie is intoxicated and discouraged. Not recognizing it Edgar is guilty of the same evildoing that he reprimanded his son-in-law for in chapter 10. Edgar changes the topic from being late, which leads to a treatment about a party that Frannie wishes to set on. It is apparent that he is tired of populating the rigorous societal life of the upper category. Both Edgar & A ; Beauchamp want for the same thing, release, but they attain their wants in different ways.

& # 8220 ; Stranger in the Park & # 8221 ; ch.17 p.60-64: Edgar is in convulsion over his life endangering medical job. There was a intimation of the job in chapter 14, but the job was ne’er so enforcing. Edgar s physician pleads with him to confront his life, fling it off and take advantage of his last few months. As he leaves for tiffin he is in great convulsion. He absurdly fantasizes about Frannie s party and that he could add to his married woman s societal ladder by announcing his decease at the party. He put this impression out of his head as he entered Washington square and encountered Anna.

& # 8220 ; Associating at Lunch & # 8221 ; ch.18 p.63-66: Beauchamp and Mary Ann have tiffin at an urban-organic-aloof eating house. This lone amplifies Mary Ann s edginess of being with Beauchamp. He is able to still her butterflies by rupturing off the pretences she has built around his presumed blue-blood. He intentionally strikes back DeDe, carry throughing her frights by inquiring Mary Ann to holiday with him that weekend. She resists but non with much attempt on history of her battle to suit into her new life.

& # 8220 ; A Piece of Anna s Past & # 8221 ; ch.19 p.67-69: This is the first chapter that straight follows the personal timeline of a character. This is because it s importance to Edgar s life find could non be completed in one individual chapter. Meeting Anna made the park heater and the bird s vocals more joyous. The two start out with little talk but it unwittingly, at least harmonizing to Edgar, turns into a serious treatment about both of their yesteryears. Anna comments that Edgar is non excessively happy with himself and she tries to convey back memories when he enjoyed his life. She plays with his head by connoting that she runs a house of pleasance. But her words are misdirecting, she really runs a embarkation house. Finally Anna coatings playing with her quarry by stating, & # 8220 ; Tomorrow is his bend to purchase lunch. & # 8221 ;

& # 8220 ; Mona s New Roomie & # 8221 ; ch.20 p.70-73: This is the debut of the soi-disant Michael Tolliver ( Mouse ) . From nowhere Michael calls Mona declaring that another relationship is down the tubing. In Michael s head this is a typical stereotype for himself as a homosexual adult male. Relationships are supposed to be short term, ne’er everlasting, & A ; far & A ; few between. His lone comfort is that this peculiar relationship was able to acquire to the furniture purchasing phase. The relationship is in control, neither of the two work forces. Concerned for Michael s good being, Mona practically demands that Michael come unrecorded with her. A choice of ownerships are inventoried coming into Mona s flat: a Jersey that reads & # 8220 ; Dance 10, Looks 3 & # 8243 ; , Army excess vesture, a exposure of La Belle, & A ; a roach cartridge holder. These ownerships elucidate Michael in a stereotyped visible radiation. The writer uses ownerships to do character interior workings evident.

& # 8220 ; Their First Date & # 8221 ; ch.21 p.74-76: It is obvious that Edgar is falling for Anna in this chapter. He does non care if anyone sees them entirely together. They joke with one another and Edgar reveals his insufficiency of contend with his societal category. Anna comments about how fantastic it is to wing a kite while being stoned. Obviously aghast Edgar asks & # 8220 ; Marijuana? & # 8221 ; He felt older than of all time holding to decline the offered articulation. Anna turned the cheerless state of affairs into a elated one by merchandising the joint for the use of a kite.

& # 8220 ; Off to Mendocino & # 8221 ; ch.22 p.77-79: This is the first case where Mary Ann overtly disregards her hometown ethical motives. She sleeps with Beauchamp, a married adult male, her boss son-in-law, and a really large measure. It is unfortunate that Beauchamp is merely utilizing her to acquire back at his married woman for all her tampering & A ; over-inquisitive nature.

& # 8220 ; Brian Climbs the Walls & # 8221 ; ch.23 p.80-83: It is dry while Mary Ann seeks sex with Beauchamp, Brian is bored out of his skull and wants Mary Ann s company. Brian truly desires her, Beauchamp does non portion this. Brian relieves himself by traveling out for the dark. He ends up in a saloon with Chip Hardesty, who is a rival of kinds. The competition comes from T

he fact that Chip is a babe magnet ; note Chip s last name. All used up, Chip leaves the saloon to Brian. Alas Brian has no pick but to accept the adult females leftovers.

& # 8220 ; Post-Mortem & # 8221 ; ch.24 p.84-86: Beauchamp s small solder, was unable to toast Mary Ann. He was worried, possibly even concerned, for what he had done to DeDe. Mary Ann wants to portion experiencing while Beauchamp is cold. All of the sudden Beauchamp reveals that he is in love with Mary Ann. More than probably he wishes to get away his societal rank with Mary Ann, the representation of his freedom. But Beauchamp divulges his true nature in his slumber. Mary Ann is no longer infatuated with this flight to her hereafter. Both, Beauchamp s & A ; May Ann s flights have failed miserably.

& # 8220 ; Coming Clean in the Marina & # 8221 ; ch.25 p.87-89: Brian gave up on picking up a kept woman for the eventide, at the bars at least. He takes his male jingoism to the Laundromat. He sights his prey, a impertinent miss waiting for the same thing he is at that place for. The two exchange smart-aleck comments with each other. In kind, look intoing each other s opposition to ache. With continuity he melts her opposition, Connie s opposition. Ironic that yet another intertwining of characters has developed.

& # 8221 ; and Many Happy Returns & # 8221 ; ch.26 p.90-93: Brian aftermaths to happen himself seeking to get by with Connie s emotions. She is pissed and Brian has no hint. She wants tenderness and merely gets, wham Bam thank you ma am. She emotionally interruptions and communicates the ground for her playing like a bitch, it is her birthday. She is down that she has no 1 to portion her solitariness with except complete a alien, picked up in Laundromat. Puting aside his sarcastic remarks, Brian s stamp nature surfaces. He rapidly runs into her kitchen and reappears with a stopgap birthday bar and says, & # 8220 ; no wisecracks. & # 8221 ; The parody of the wise-cracking in the last chapter is dropped for gradualness in this chapter. Both characters grow to understand that their life simulation merely disservice them.

& # 8220 ; Mrs. Day at Home & # 8221 ; ch.27 p.93-95: DeDe s life is crumpling around her. She bathes off the defeat, but this flight fails to procure her uncertainties about herself. She grasps for the first support, an old crack. Walt unluckily casts her back to world. He now has a happy and good adjusted matrimony, no demand for another adult female s longings.

& # 8220 ; The Chinese Connection & # 8221 ; ch.28 p.96-98: On the phone with Walt, DeDe realizes that her hubby is non off for the weekend where he said he would be. She admits to herself she ne’er believed the prevarication anyhow, and attempts to brush off the compounded hurting. She hangs up with Walt and about instantly calls for backup, breakfast cereal. It reminded her once more of the yesteryear that she was fighting to happen. The present knocks on her front door presenting the food markets she merely ordered. Lionel Wong was a strong & A ; a adult male to be fixated over. Bluntly, DeDe throws herself on him and they do the dirty. Beauchamp arrives place an hr subsequently, merely in clip to see Lionel retreat. Indirectly he knew what had merely happened. He reveled in his ability to hale his married woman into moving out the workss she accused him. This is a shallow triumph for Beauchamp & A ; serves no intent but to kill their matrimony.

& # 8220 ; Confession in the Nude & # 8221 ; ch.29 p.99-102: Mona and Michael go for a mini beach holiday up the seashore. It is brought to visible radiation that Michael and Mary Ann have met before. His lover was the shopper at the Safeway that Mary Ann was seeking to unwittingly pick up. This is another cross nexus of the characters within the narrative.

& # 8220 ; Miss Singleton Dines Alone & # 8221 ; ch.30 p.103-105: In deep idea Mary Ann realizes that she is non populating her life for her ego. She should face DeDe with the state of affairs Beauchamp and her are entangled in. The scene displacements to the Day s place. Beauchamp workss Mary Ann s baseball mitt in his Porsche in revenge to DeDe s pecking suggestions that he was non where he said he would be that weekend. He is determined to quell his married woman s calumniatory actions.

& # 8220 ; Mona vs. the Pig & # 8221 ; ch.31 p.106-108: The hog is a client of Halcyon Communications, male monarch of pantyhose himself, Fartface Siegel. Mona does non enjoy the fact that she has to leap through basketballs to acquire the adult male to acknowledge that the current ad run needs to be overhauled. During the meeting, Mona speaks her head a small excessively freely. She hurls her occupation better than any discus throwster of all time could. Walking out the door she affronts Beauchamp, & # 8220 ; Your karma is truly fucked. & # 8221 ; Once she gets place, she apathetically informs Michael of the intelligence that she lost her occupation.

There are many analogues within the narrative. These stress the significance that people are much more likewise than they are different. It besides gives the narrative a sense of continuance.

The scenes within Tales of the City largely occurs within San Francisco, aside from two goings. These two topographic points represent an flight from the metropolis & A ; the lives that are moored at that place. Beauchamp s flight to Mendocino bore no fruit, neither did Michael s flight to the beach. It turns out in ulterior chapters that the two characters must confront their lives straight to alter them. Actually all the characters that are get awaying from themselves, discover this acute wisdom.

There are several societal assemblages that take topographic point. The party Beauchamp & A ; DeDe Day go to provides the characters with a minute where they get to larn the truth about each other. Both of Mrs. Anna Madrigal s parties help Mary Ann s development as a new individual.

The lone significant character non reviled in the first thirty-one chapters is the hapless Norman Neal Williams. It is a commiseration that he is unable to develop. He is introduced small by small, each portion demoing more of his monstrous nature. He is found to be a small adult male that merely obtains what he want by utilizing other people. He tries to make out to Mary Ann, but his defects are excessively great. Norman is cut from the book in a rage, non able to larn from his errors as the other characters do throughout the book. He is a reminder that non all people are saved from themselves.

Interactions Between Fictional characters

By maintaining a close nit group of characters Armistead Maupin is able to maintain the attending drawn towards the development of the character, non straw & amp ; seeking to absorb new characters invariably. It is easier to maintain path of less characters. The interaction between the characters within Tales of the City are simple but many. It is about predictable that a character already introduced will someway be the new introduced.

To understand Tales of the City it is utile to associate it to other reading from the category.

The characters are non every bit complex as 1s in the Plato s Symposium. While this is true what the reader learn about their nature is more telling in Tales of the City. Maupin s work is much more light hearted, while Plato interjects a deep doctrine. There is an obvious clip difference between the two narratives, but this does non maintain love from going the binding strap for each. Narratives of the City is a hunt for love that the Symposium defines.

Both Petronius Satyricons & A ; Tales of the City are intended to state a narrative. The bathing machine emerges from the yesteryear to be incorporated in chapter ninety-seven. It about severs the same map, but in present times the sexual content has increased. It is uneven to cognize this & A ; still understand that the perversion in the Satyricons is much more unfastened. Normally sexual spendings refer to perversion, but in Tales of the City the action is non meant to be perverse. This would non be acceptable to the readers of a day-to-day newspaper.

In Tales of the City the characters are able to make from deep within to happen replies. Augustine s Confessions has Aurelius achieving his replies from an outside beginning, GOD. Grasping for replies outside their experience the characters in Armistead s book fail to achieve felicity. Because Aurelius has an exceeding religion in things outside his experience he is able to achieve felicity this manner.

It is non really clear if Foucault s thoughts in The History of Sexuality an debut Vol. 1. Conform to Tales of the City. Foucault says that it is built-in to squeal such as in Augustine s work. Because Tales of the City is non about the writer himself, but a choice of fictional characters, it is hard to state if Maupin is come ining his confession. The lone certain thought that fits the work is that the power of individuality is non taken for granted. Strong illustrations of this are Mary Ann & A ; Anna. Mary Ann steadfastly builds her individuality and Anna has one to get down with.

After the dedication page Maupin quotes Oscar Wilde. & # 8220 ; It s an uneven thing, but person who disappears is said to be seen in San Francisco & # 8221 ; Maupin must associate to this quotation mark. The determination of one ego happens really frequently in San Francisco. In Oscar Wilde s prose composing De Profundis the lower category is able to run their lives free of the obstructor of society. Maupin relates this understand with the characters Edgar & A ; Beauchamp. Wilde was thrust into a societal category that he was ne’er truly included. Beauchamp feels the vary same manner. He does non suit in, but must take the duty of the societal place. Wilde writes his composing to warrant his workss to either to himself or his beloved. Maupin writes to convey a sense that life is feasible.

Sir Richard Conway in Forester s Arthur Snatchfold does non face his skip from society. The character does non believe he needs to develop, unlike characters in Tales of the City which are endeavoring to develop into anew. Sir Richard fantasizes about another character & A ; is able to face him. The descriptions of scenes are much more colourful in Arthur Snatchfold, but the characters are non as absorbing.

Anna Madrigal serves as the motherly type in Tales of the City much like the narrator in Coward s & # 8220 ; Me and the Girls. & # 8221 ; The reader ne’er knows the narrator s name, but does recognize that he cares for his dance troop. While Coward s narrative is a notional relation of anterior experiences, a confession of kinds, Maupin s rendering releases the yesteryears for a better hereafter. Death manifests because of necessity in both plants. To squeal the narrator needs decease to promote his reminiscing. In chapter one hundred-twelve equity is brought when Norman dies a befitting decease. He fails to hang on from the precipice because his ain defects. His tie is merely a cartridge holder on, an article that represents his deceitful life. Mary Ann holds his tie while Norman falls to his decease.

Beattie s narratives characters in & # 8220 ; The Cinderella Waltz & # 8221 ; are every bit shallow as a muddy puddle. The characters in Tales of the City are to the full developed and significant. Marriage is considered a frontage in both plants. The characters superficially believe that matrimony is of import, but when it comes down to feelings, it is unimportant. Development is found by separation in Beattie s narrative, while in Maupin s narrative it is found through consolidation.

Narratives of the City requires a elaborate account of all events. Each circumstance leads to another which helps in the development of the characters. Maupin is besides able to bind in events so they adhere to future events. The lip service of the societal categories is brought frontward. Worlds are frail. The reading is apparently simplistic on the surface, but beneath this there are serious lessons to be learned. Self betterment & A ; felicity can merely be attained when a critical analysis of oneself has been executed.

Subsequent Chapters: Narratives of the City

Ch. 32. Where Is Love p.109-111

Ch. 33. If the Shoe Fits p.112

Ch. 34. Sherry and Sympathy p.115

Ch. 35. The Rap about Rape p.118

Ch. 36. Love affair in the Rink p.123

Ch. 37. Coed Steam p.127

Ch. 38. Hillary s Room p.130

Ch. 39. Breakfast in Bed p.133

Ch. 40. The Maestro Vanishes p.136

Ch. 41. Frannie Freaks p.139

Ch. 42. The Case of the Six Batons p.142

Ch. 43. Back to Cleveland p.145

Ch. 44. Michael s Pep Talk p.148

Ch. 45. War and Peace p.151

Ch. 46. Once More into the Beach p.154

Ch. 47. Fantasia for two p.157

Ch. 48. They Cryptic Caller p.160

Ch. 49. So Where Was Beauchamp p.163

Ch. 50. What the Simple Folk Do p.167

Ch. 51. Intermezzo p.170

Ch. 52. Vincent s Old Lady p.173

Ch. 53. The Anniversary Tango p.177

Ch. 54. Bells Are Ringing p.180

Ch. 55. The Landlady Bares Her Soul p.183

Ch. 56. At the Fat Farm p.186

Ch. 57. Michael s Shocker p189

Ch. 58. The Family Myth p.192

Ch. 59. DeDe Triumphs p.195

Ch. 60. Boris Steps In p.198

Ch. 61. Regenerating Vows p.201

Ch. 62. The Man on the Roof p.204

Ch. 63. That Ol -Time Religion p.207

Ch. 64. Child s Play p.211

Ch. 65. What are Friends For? p.214

Ch. 66. The Beach Boys p.217

Ch. 67. Ebony Idol p.220

Ch. 68. D orothea s Lament p.223

Ch. 69. The Winner s Circle p.226

Ch. 70. Fiasco in Chinatown p.229

Ch. 71. Starry, Starry Night p.232

Ch. 72. The News from Home p.235

Ch. 73. A Topographic point for Strays p.238

Ch. 74. Hanging Loose p.241

Ch. 75. Nightcap p.244

Ch. 76. Wordss of Comfort p.247

Ch. 77. The Clue in the Bookshop p.250

Ch. 78. Mona Moves On p.253

Ch. 79. At the Gynecologist s p.256

Ch. 80. The Diagnosis p.259

Ch. 81. The Tollivers Invade p.262

Ch. 82. Trick or Treat in Suburbia p.265

Ch. 83. Chip off the Old Block p.268

Ch. 84. DeDe s Turning Dilemma p.271

Ch. 85. Mrs. Madrigal and the Mouse p.275

Ch. 86. The Shadow Knows p.278

Ch. 87. How to Bring around the Munchies p.281

Ch. 88. The Hungry Eye p.284

Ch. 89. Injury in a Travel-Eze p.287

Ch. 90. And Baby Makes Three? p.290

Ch. 91. Neckties That Bind p.293

Ch. 92. New York, New York p.296

Ch. 93. Full Moon in Sea Cliff p.299

Ch. 94. Norman Confesses p.302

Ch. 95. What D or Won t Tell Her p.305

Ch. 96. Michael s Visitor p.309

Ch. 97. Three Work force at the Tubs p.312

Ch. 98. Cruising at The Stud p.315

Ch. 99. She is Woman, Hear Her Roar p.318

Ch. 100. The Doctor is In p.321

Ch. 101. Not Even a Mouse p.324

Ch. 102. Mystery at the Twinkie Factory p.327

Ch. 103. Anna Crumbles p.330

Ch. 104. The Baker s Wife p.334

Ch. 105. Old Flames p.337

Ch. 106. A Lovers Farewell p.340

Ch. 107. Edgar on the Brink p.343

Ch. 108. Breaking and Entering p.347

Ch. 109. At the Grove p.350

Ch. 110. Art for Art s Sake p.353

Ch. 111. Guess Who s Coming to Dinner? p.356

Ch. 112. The Confrontation p.360

Ch. 113. The Party p.363

Ch. 114. Stating Good-bye p.366

Ch. 115.