Sure it is. And in Genoa, Italy, an old prostitute waits for the door to close and then grabs the money the American has left on the gray sheets—half afraid it will disappear. She looks around, holds her breath, and listens for his footsteps to recede down the hallway. She leans back against the wrought-iron bed frame and counts it—fifty times the price she normally gets for slopping dong; she can’t believe her good goddamn fortune. She folds the bills and puts them under her garter so that Enzo won’t ask for his cut, walks to the window and looks down, and there he is, standing on the sidewalk, looking lost: Wisconsin. Wanted to write a book. And in that flash, the two moments they’ve shared are perfect, and she loves him more than any man she’s ever known—which is maybe why she pretended not to know him, to not ruin it, to save him the embarrassment of having cried. But no—there was something else, something she hasn’t got a name for, and when he glances up from the street below, whatever it is causes Maria to touch the place on her chest where he laid his head that night. Then she steps back from the window— In California, William Eddy stands on the porch of his little clapboard house, luxuriating in the smoke from his pipe and the weight of breakfast in his gut. It’s such a decadent, guilty meal. William Eddy likes every meal, but he goddamn loves breakfast. For a year, he kicks around Yerba Buena, gets plenty of work, but then he makes the mistake of telling his story to the broadsheet journalists and the dime-book authors—all of whom embellish in both language and deed, vultures picking through the bones of his life for scandal. When some of the others accuse him of exaggerating to make himself look better, Eddy says to hell with them all and moves south, to Gilroy. Look better—Christ in heaven, who looks better after such a thing? With the Rush of ’49 there’s no shortage of work for a carriage builder, and William does well for a while, remarries and has three kids, but soon he’s adrift again, alone, and he leaves his second family and runs off to Petaluma; he feels sometimes like a shirt blown off a drying line. His second wife says there’s something wrong with him, “something I fear is both unwell and unreachable in you”; his third wife, a schoolteacher from St. Louis, is just now discovering the same thing. He hears occasional word on the fate of the others: surviving Donners and Reeds, the kids he rescued; his old foe and friend Foster runs a saloon somewhere. He wonders if they are unmoored, too. Maybe only Keseburg would understand—Keseburg, who, he’s heard, accepted his infamy and has opened a restaurant in Sacramento City. This morning, Eddy feels a bit feverish and weak, and while he won’t know it for a few more days, he is dying, at just forty-three, and only thirteen years after his hard passage through the mountains. Of course, such a passage is only temporary. On his porch, William coughs, and the porch boards beneath him creak as he looks east, as he does each morning, feels an ache for the bruised sun on the horizon and his family, ever up there in the cold— All night, the painter walks north through dark foothills, toward rumors of the Swiss border. He avoids main roads, scouring the rubble of another Italian village for the remnants of his old unit, or for some Americans to surrender to—anything. He thinks of abandoning his uniform, but he still fears being shot as a deserter. At dawn, with the deep pup-pup of distant shelling at his back, he takes refuge in the husk of an old burned-out printer’s office, leans pack and rifle on the sturdiest wall, and curls up beneath an old drafting table with some grain bags for a pillow. Before he drifts off, the painter goes through his nightly ritual, picturing the man he loves back in Stuttgart, his old piano instructor. Come home safely, the pianist begs, and the painter assures him that he will. Nothing more than that, as chaste a friendship as two men can have, but the very possibility has kept him alive—the imagined moment when he does return safely—and so the painter thinks of the piano instructor every night before sleep, as he does now, drifting off in the glow before sunrise, and sleeping peacefully until a couple of partisans come across him and bash in his skull with a shovel. After the first swing, it is done: the painter will not make it home to Germany, to his piano instructor or his sister—killed anyway, a week ago, in a fire at the munitions plant where she worked, his spoiled sister whose photograph he carried to war and whose portrait he painted twice on the wall of a pillbox bunker on the Italian coast. One of the partisans laughs as the German painter lurches and burbles about like some kind of walking dead, but the more decent of the two steps in to finish him off— Joe and Umi move to West Cork and get married; childless, they divorce four years later, blaming each other for their sad, aging selves. After a few years apart, they see each other at a concert and are more understanding; they share a glass of wine, laugh at the perspective they lacked, and fall back into bed together. This reconciliation only lasts a few months before they go their own ways, happy at least to be forgiven in the other’s eyes. It’s the same with Dick and Liz: a turbulent ten-year marriage and one truly great film together, Who’s Afraid of Virginia Woolf? （she gets the Oscar, ironically）， then a divorce and a short reprise （more disastrous than Joe and Umi’s） before they drift their own ways, Liz into more marriages, Dick into more cocktails, until, at fifty-eight, he can’t be awakened in his hotel and he dies that day of cerebral hemorrhage, a line from The Tempest apocryphally left on his bed-stand: “Our Revels now are ended—” Orenzio gets drunk one winter and drowns, and Valeria spends the last years of her life living happily with Tomasso the Widower, and the brute Pelle recovers from his gunshot foot, but, having lost his taste for the goon business, works at his brother’s butcher shop and marries a mute girl, and Gualfredo gets a just case of syphilis that blinds him, and the son of Alvis’s friend Richards is wounded in Vietnam, returns home to work as a benefits advocate for veterans, and is eventually elected to the Iowa State Senate, and young Bruno Tursi graduates with degrees in art history and restoration, works for a private firm in Rome cataloguing artifacts and finds a perfect medication to balance his quiet, low-level depression, and P.E. Steve remarries—the sweet, pretty mother of one of his daughter’s softball teammates—and on and on it goes, in a thousand directions, everything occurring at once, in a great storm of the present, of the now— —all those lovely wrecked lives— —and in Universal City, California, Claire Silver threatens to quit unless Michael Deane leaves Debra “Dee” Moore and her son alone, and agrees to produce just one project from their trip to Sandpoint: a film based solely on Lydia Parker’s play Front Man, the poignant story of a drug-addicted musician who wanders off into the wilderness and eventually returns to his long-suffering mother and girlfriend. The budget is just $4 million, and after every financier and studio in Hollywood passes, it is funded entirely by Michael Deane himself, although he doesn’t tell Claire that. The film is directed by a young Serbian comic-book artist and auteur, who writes the script himself, based loosely on Lydia’s play, or at least the part of the play he read. The auteur makes the musician younger and, generally, more likeable. And, rather than having issues with his mother, in this version the musician has issues with his dad—so the young director can explore his own feelings for his distant, disapproving father. And, rather than having his girlfriend be a playwright in the Northwest, who takes care of her stepfather, the girlfriend in the film becomes an art teacher who works with poor black kids in Detroit, so that they can get some better music on the sound track and also take advantage of the big “Film in Michigan” tax break. In the final script, the Pat character—whose name is changed to Slade—doesn’t steal from his mother or cheat repeatedly on his girlfriend, but harms only himself with his addiction, itself changed from cocaine to alcohol. （He’s got to be relatable and likeable, Michael and the director agree.） These changes come slowly, one at a time, like adding hot water to a bath, and with each step Claire convinces herself that they’re sticking to the important parts of the story—“to its essence”—and in the end she’s proud of the film, and of her first coproducer credit. Her dad says, “It made me cry.” But the person most moved by Front Man is Daryl, who is still on relationship-probation when Claire brings him to an early screening. Late in the film （after Slade’s girlfriend Penny has confronted the gangbangers threatening the school where she teaches） Slade sends Penny a text message from London: Just let me know you’re okay. Daryl gasps and leans over to Claire, tells her, “I sent you that message.” Claire nods: she’d suggested it to the director. The film ends with Slade being rediscovered by a record executive vacationing in the UK, and headed for success—but on his terms. As Slade’s unpacking his guitar after a show he hears a woman’s voice. “I am okay,” she says, and Slade turns to see Penny, finally answering his text. In the theater, Daryl begins crying, for the film is clearly a harsh love letter from his girlfriend about his porn addiction, for which he agrees to seek treatment. And, in fact, Daryl’s treatment is an unqualified success; his not waking every day at noon to surf Internet porn and sneaking out to strip clubs at night has given him newfound energy and passion for life—which he channels into his relationship with Claire, and into a shop he opens in Brentwood with another former set designer, making custom furniture for industry people. Front Man plays at several festivals, wins the audience award in Toronto, and is generously reviewed. With the foreign box office, it even ends up earning Michael a decent profit—“Sometimes it’s like I shit money,” he tells a profiler for The New Yorker. Claire knows the movie is far from perfect, but with its success, Michael allows her to buy two other scripts for development, Claire happy to no longer expect the dead perfection of museum art, but embrace the sweet lovely mess that is real life. After some initial buzz, Front Man is passed over by the Academy Awards, but it does garner three Independent Spirit nominations. Michael can’t go to the ceremony （he’s off in Mexico recovering from his divorce and receiving a controversial human-growth hormone treatment）， but Claire is happy to represent the film’s producers, Daryl accompanying her in an eggplant-colored tuxedo she finds for him in a thrift store. He looks great, of course. Unfortunately, Front Man doesn’t win any Indie Spirit awards, either, but afterward Claire feels buoyant with achievement （and with the two bottles of ’88 Dom Perignon that Michael generously reserved for her table） and she and Daryl have sex in the limo, after which she convinces the driver to veer through a KFC drive-through for a bucket of Extra Crispy, Daryl nervously fingering the engagement ring in his purple pants pocket— Shane Wheeler uses the option money from Donner! to rent a small apartment in the Silver Lake area of Los Angeles. Michael Deane gets him a job on a reality show he sells to the Biography Channel based on Shane’s suggestion, called Hunger, about a houseful of bulimics and anorexics. But the show is too sad for even Shane, let alone viewers, and he gets a job as a writer for another show, called Battle Royale, in which famous battles are re-created through computer graphics, so that history is like watching Call of Duty, all accompanied by a fast-moving narration by William Shatner, the scripts written by Shane and two other writers in modern vernacular （“Restricted by their own code of honor, the Spartans were about to get totally stomped . . .”）。 He continues to work on Donner! in his spare time, until a competing Donner Party project makes it to the screen first—William Eddy portrayed as a lying coward—and this is when Shane finally gives up on cannibals. He also tries once more with Claire, but she seems pretty happy with her boyfriend, and once Shane meets the guy he understands: the dude is way better-looking than Shane. He pays Saundra back for the car, and throws in a little more for her ruined credit, but she remains cool to him. One night after work, though, he hooks up with a production assistant named Wylie, who is twenty-two and thinks he’s brilliant and eventually wins his heart by getting an ACT tattoo on her lower back— In Sandpoint, Idaho, Pat Bender wakes at four, makes the first of three pots of coffee, and fills the predawn hours with chores around the cabin. He likes starting work before he’s had a chance to really wake up; it gives the day some momentum, keeps him moving forward. As long as he has something to do, he feels good, so he clears brush or he splits wood or he strips, sands, and stains the front deck, or the back deck, or the outbuildings, or he starts the whole process again on the front deck: strip, sand, stain. Ten years ago, he would’ve thought this some kind of Sisyphean torture, but now he can’t wait to slide into his work boots, make coffee, and step into the dark morning; he likes the world best when he’s alone in it, that dark, predawn quiet. Later, he goes into town with Lydia to work on sets for the theater’s summer-stock children’s production. Dee passed on to Lydia the community-theater fund-raising trick: cast as many cute kids as you can and watch their rich ski parents and the flip-flopped lake-folk buy up all the tickets, then use the proceeds to pay for the arty stuff. Capitalism aside, the plays are what another person might call “adorable,” and Pat secretly likes them better than the too-serious adult fare. He takes one big role a year, usually in something Lydia picks for him; he and Keith are doing True West next. He’s never seen Lydia happier. After he tells the crazy zombie producer that he isn’t interested in selling his “life rights,” and—as politely as he can—to “leave us the fuck alone,” the guy still steps up and buys the rights to Lydia’s play. When Front Man comes out, Pat has no interest in seeing it, but when people tell him that the story was drastically changed, that it bears almost no resemblance to his own life, he is profoundly grateful. He’ll take unknown over failure at this point. With some of the option money, Lydia wants to take a trip—and maybe they will, but Pat can also imagine never leaving North Idaho again. He’s got his coffee and he’s got his ritual, his work around the cabin, and with the new satellite dish Lydia buys him for his birthday, he’s got nine hundred channels and he’s got Netflix, which he uses to work his way chronologically through his father’s movies—he’s in 1967 now, The Comedians—and he gets a perverse thrill out of seeing bits of himself in his father, although he’s not looking forward to the inevitable decline. Lydia likes watching these movies, too—she teases him about having his father’s build （Last time I saw legs like that, there was a message tied to them）—sweet Lydia who makes all of the rest of the odd bits come together as a life. And on those days when Lydia, the lake, his coffee, his woodworking, and the Richard Burton film library aren’t nearly enough, on those evenings when he craves—fucking craves—the old noise and a girl on his lap and a line on the table, when he recalls the way the barista smiled at him in the coffee shop across from the theater, or even thinks of Michael Deane’s business card in that drawer in the kitchen, of calling and asking, “How would this work exactly?”—on those days when he imagines getting just a wee bit higher （See: every day）， Pat Bender concentrates on the steps. He recalls his mother’s faith in him, and what she told him that night he found out about his father （Don’t let this change anything）， the night he forgave her and thanked her—and Pat works: he strips, he sands, he stains—strips, sands, and stains, strip-sand-stains, as if his life depended on it, which, of course, it does. And in the dark morning he always rises clear again, resolute; the only thing he really misses is— —Dee Moray, who sits with one leg crossed over the other on the back bench seat of a water taxi, the sun warming her forearms as her boat shadows the rough Ligurian coastline of the Riviera di Levante. She wears a cream-colored dress, and when the wind gusts she reaches up and presses her matching hat against her head. This causes Pasquale Tursi, next to her, in his usual suit jacket despite the heat （after all, they have dinner reservations later）， to nearly double over with nostalgic longing. He has one of his wistful, fanciful thoughts—that he’s somehow summoned from his mind not a fifty-year-old memory of the moment in which he first saw this woman but the actual moment itself. After all, isn’t it the same sea, same sun, same cliffs, same them? And if a moment exists only in one’s perception anyway, then perhaps the rush of feeling he has now is THE MOMENT, and not merely its shadow. Maybe every moment occurs at once, and they will always be twenty-two, their lives always before them. Dee sees Pasquale lost in this reverie and she touches his arm, asks, “Che cos’è?,” and while her years of teaching Italian have allowed them to communicate fairly well, the sentiment he feels is, once again, beyond language, so Pasquale says nothing, just smiles at her, rises, and moves to the front of the boat. He points out the cove to the pilot, who looks dubious but nonetheless negotiates the waves and rounds a rocky point into an abandoned inlet, the single pier long gone, just a few rubbled bits of foundation left, like humps of bone in the grass, all that remains of an unlikely village that once sat in a crease in these cliffs. Pasquale explains to her how he closed the Adequate View and moved to Florence, how the last fisherman died in 1973, how the old village was abandoned and absorbed by the Cinque Terre National Park, the families given a small settlement for their little specks of land. Over dinner in Portovenere, on a patio overlooking the sea, Pasquale explains other things, too, the gentle pull of events after he leaves her that day in his hotel, the sweet contented rhythm of his life after that. No, it is not the foreign excitement of his imagined life with her; instead, Pasquale leads what feels like his life: he marries lovely Amedea, and she is a wonderful wife to him, playful and adoring, as good a friend as he could ever have wanted. They raise sweet little Bruno, and soon after, their daughters Francesca and Anna, and Pasquale takes a good job with his father-in-law’s holding company, managing and renovating old Bruno’s apartment buildings, and he eventually takes over as the patriarch to the Montelupo clan and business, doling out jobs, inheritance, and advice for his children and an army of nieces and nephews, never imagining that one man could ever feel so needed, so full. And it’s a life with no shortage of moments to recommend it, a life that picks up speed like a boulder rolling down a hill, easy and natural and comfortable, and yet beyond control somehow; it all happens so fast, you wake a young man and at lunch are middle-aged and by dinner you can imagine your death. And you were happy? Dee asks, and he answers, Oh, yes, without hesitation, then thinks about it and adds, Not always, of course, but I think more than most people. He truly loved his wife, and if he sometimes daydreams other lives, and other women—her, mostly—he also never doubts that he made the right decision. His biggest regret is that they never got to travel together once the children were gone, before Amedea got sick, before her behavior turned erratic—fits of temper and disorientation that led to a diagnosis of early-onset Alzheimer’s. Even then, they have some good years, but her last decade is lost, disappearing out from under them both like sand giving way beneath their feet.