A legacy of instability and alienation plagues two generations in this ruthlessly compact third outing by Lewis (Why the Tree Loves the Ax, 1999, etc.).
A tricky structure that involves leaps forward and backward in time and seemingly unrelated subplots eventually discloses connections between WWII hero and political functionary Walter Selby and his son Frank, a film actor whose burden of untold family secrets propels him into early retirement. The story’s first half depicts Walter’s infatuation with his eventual wife, beautiful, distractible Nicole Lattimore; his disillusioning tenure as aide to Tennessee’s manipulative governor; and Walter’s heartbroken discovery of Nicole’s infidelity, after which he shoots her to death and is sent to prison. The second half portrays Frank as a foster child (who takes the surname of his “new” parents the Cartwrights) raised with his younger sister Gloria in ignorance of their family’s past; a teenager obsessed with a seductive classmate (Kimmie Remington) on her way to becoming an irreversible paranoid schizophrenic; and a middle-aged divorced father whose buried energies are reawakened when aging film queen Lenore Riviere tempts him with a “riddling” story of a bastard prince’s moral quandary involving his betrayed father and adulterous mother (which is, incidentally, the source of Lewis’s title). There are also loosely related episodes featuring a murdered lottery winner and an itinerant Native American, and inexplicably, the full text of Casey Stengel’s testimony before Tennessee Senator Estes Kefauver’s Antitrust and Monopoly Subcommittee. Lewis doesn’t pull all these materials together, but does create some smashing effects in his dénouement, as Frank travels to his dying father’s bedside seeking the answer to the “riddle” that embraces father and son alike: “Where does a man go, if he’s done wrong?”
The tale’s circuitous, cryptic organization is daunting, but Lewis’s crisp, forthright style and arresting character portraits lead toward a most satisfying payoff.