Of the serial creations of John Updike, Rabbit Angstrom is easily the best known, and the Nobel laureate Henry Bech must hold the second position. I, however, am partial to Richard and Joan Maple, characters to whom Updike returned again and again in short stories written over the course of around twenty years, starting in the mid-50s. Eventually these fictions, sometimes called "the Maples stories," were collected in a volume called Too Far to Go, which was published in 1979. The title refers to the far shore of marriage--the death of a spouse, when the wedded partners necessarily part. The Maples didn't make it. They, and their marriage and world, are the subject of eighteen stories. "Separating," the fourteenth, was first published in the June 23, 1975 issue of The New Yorker.
The story may have been finished before that and held back till solstice time, for it commences:
The day was fair. Brilliant. All that June the weather had mocked the Maples' internal misery with solid sunlight--golden shafts and cascades of green in which their conversations had wormed unseeing, their sad murmuring selves the only strain in Nature.
The narrator is of the third person variety and has it seems special access to Richard's consciousness. A paragraph later:
In his sealed heart he hoped the day would never come.
Now it was here. A Friday.
The "it" is the day to tell the kids, of whom there are four. The story's most impressive achievement may be the evocation of Richard's dread, which almost cannot allow that the children will get the news on a bright June Friday, the oppressive burden of the task being better fitted to some parallel time when there aren't seasons or named days. The story indicates that the Maples have been waiting for "the perfect time." The main obstacle is the oldest, Judith, who has to get home from a school term in England. And you can't just drop this news on her soon as she's back. She has to get acclimated. Without directly saying so, the story makes you understand that Richard is thankful, or temporarily relieved, that this seems wise, since it puts off the day he dreads. But now Judith is acclimated.
The plan was to inform each kid individually. Richard had assumed there would be a general announcement, but Joan thought each kid deserved their own conversation. In a kind of paradox, the partner who seeks the divorce, Richard, is also the one who takes it hardest. Joan is comparatively prim, efficient, and reasonable. Her cool ease registers almost unconsciously on Richard and adds to the reader's consciousness of his misery. It wasn't her idea to break up the family! I had the thought that Joan may have advocated for separate conversations in order to inflict four times the pain on Richard, who, in the afternoon of the evening when the bad news is to be unveiled, distracts himself by working assiduously, and a little clumsily, on a household repair. It is something like Updike's calling card that the details of this repair are more thoroughly described than they would be by almost any other practitioner, but there is also here a dual purpose: Richard's immersion in the task is part of how his acute discomfort at the prospect before him is communicated. It's very hard for him. He has to distract himself.
In the event, it's too hard for him: he fouls the plan, which had been to tell Judith first after separating her from a brother and sister at the conclusion of a family dinner of lobster and champagne meant to celebrate her return home. But Richard breaks down and cries before the dinner can end. The big revelation scene Updike renders:
Between them, Margaret, no longer called Bean, thirteen and large for her age, gazed from the other side of his pane of tears as if into a shopwindow at something she coveted--at her father, a crystalline heap of splinters and memories. It was not she, however, but John who, in the kitchen, as they cleared the plates and carapaces away, asked Joan the question: Why is daddy crying?
Richard heard the question but not the murmured answer. Then he heard Bean cry, 'Oh, no--oh!'--the faintly dramatized exclamation of one who had long expected it.
John returned to the table carrying a bowl of salad. He nodded tersely at his father and his lips shaped the conspiratorial words 'She told.'
So, not according to plan, and all a little off key. Joan covers for Richard by reciting--"levelly," "sensibly"--the prepared remarks: Mom and dad agree ... a trial separation for the summer ... need space and time to think ... don't make each other happy enough. The desired effect, I believe, is of words that sounded right in the study falling flat on actual delivery--anyway, that's how it works on me. Judith, trying too hard to copy her mother's tone, says she thinks it's silly, they "should either live together or get divorced." John is put off by his younger sister Bean having suspected what was coming and loudly insists that they should have been told that mom and dad weren't getting along. Instead of risking the wrong authentic response, the children fall into a sophistication contest. John, his parents realize, is a little drunk on the champagne, and he and Richard go for a walk on their property and have a conversation to which the narrator at one point attaches the adverb "stiltedly." When the memorized inadequate words are used, the unmemorized inadequate words are left. At least it's done, the dreaded task for better or worse accomplished.
But it's not. The Maples' fourth child, the eldest boy, "closest to [Richard's] conscience," is at a rock concert, and the plan was always for his father to pick him up in the wee hours at the train station and tell him on the drive home. So Richard's ordeal continues. The narration is infused with by now familiar undercurrents. The train is due at 1:14, so Richard sets the alarm for 1:00. While Joan sleeps soundly beside him, his mind churns. At one, he gets up, dresses, goes downstairs, turns off lights that, on account of the evening's consternation, had been left on. The car engine starts. We're told he hoped it would not. On the short drive, he sees happy revellers pouring out of a bar. He arrives at the train station a little early and hopes that the train will be late, but it rolls in right on time. He sees his son disembark. On the bright side, two of his friends get in the car with him. Dropping them off at their houses will supply a brief reprieve. He really doesn't want to drink of this cup.
Updike's handling of the close is restrained and the effect, heartbreaking. Stunned by the news, the boy, Dickie, repeats questions. He woodenly declines his father's bland offers of kindness, such as calling in sick for him the next day. At the house, he walks directly to his room. Richard thinks maybe the door will slam, but he hears it quietly click shut. Later, he enters the room to comfort the boy, and the story ends:
Richard bent to kiss an averted face but his son, sinewy, turned and with wet cheeks embraced him and gave him a kiss, on the lips, passionate as a woman's. In his father's ear he moaned one word, the crucial, intelligent word: Why?
Why. It was a whistle of wind in a crack, a knife thrust, a window thrown open on emptiness. The waiting white face was gone, the darkness was featureless. Richard had forgotten why.
Though some sophisticates seem to regard it as irrelevant and a breach of etiquette even to mention it, Updike and his first wife had four children, like the Maples two boys and two girls, lived in Ipswich, Massachusetts, the topography of which seems consistent with what we learn of the Maples' property, and, also like the Maples, were divorced in the 1970s. In "At War With My Skin," an autobiographical essay, Updike, afflicted since youth with psoriasis, describes how he suffered a flare up at the time of his divorce--"my face broke out, my shoulders and neck became so encrusted I couldn't turn my head without pain."