Grooms worked his way through the litany of Steinbergian icons, warning that even though the drawings were all designed to produce a smile at first glance, the viewer should be prepared to confront the "anger" that lay within them. Like Pica.s.so in his later career, Grooms thought, Steinberg created "many monsters." He wrote of the rage that lay behind the initial wit in Steinberg's drawings of women; he appraised the depiction of American architecture as a "great comedy" that exposed all its pretentious imitations of past styles and motifs; he observed quietly how, in contrast to the buildings, Steinberg's portraits of people dissolved into "indistinct things, jots in a whole landscape." He called Steinberg "the smartest person around in art," who with this book had become "a great visual artist almost in spite of his a.n.a.lytical intelligence." For Grooms, Steinberg was "in a sense like a superb writer; he can sit down in front of a clean sheet of paper and go absolutely anywhere he chooses to-and take us along with him."

This was how Steinberg wanted his work to be judged, and he certainly would have appreciated it if he had been in a better frame of mind. Another critic who appraised these drawings when they appeared in the Pace exhibition that was concurrent with the book's publication unknowingly interpreted Steinberg's vision in art in a way that could have explained his att.i.tude toward life: "However playful, clever, and funny the pieces of Steinberg's puzzle are, he has a morbid, existential, peculiarly tragic vision of America."

IF THE GENERAL RECEPTION OF THE book cheered Steinberg out of his melancholy, it did not last long. Sales were (with the most positive spin) tepid at best: 7,360 copies were sold, and the book was soon remaindered. Although the art critic Arthur Danto's introduction was praised by all who read it, Steinberg was close-lipped and noncommittal when asked what he thought of it, so if he had objections, he kept them to himself. He was famed for writing letters of complaint to his editors and publishers about every aspect of a book's production and final appearance, starting with Ca.s.s Canfield; continuing through Christopher Sinclair Stevenson at his British publisher, Hamish Hamilton; the soothing and patient Elizabeth Sifton, who was famed for her ability to calm emotional writers; and Peter Andersen, who kept him calm at Knopf. In the aftermath of the publication of The Discovery of America, Steinberg was dissatisfied with everyone and everything, and he wanted to make a change-any change. Since he could not change his landlord (as he did in his student days in Milan), he changed his agent. Wendy Weil had represented him since 196768, but in 1992 he allowed Sandy Frazier and Arne Glimcher to persuade him to leave her for Andrew Wylie.

Weil was clearly hurt by Steinberg's decision, which he delivered as a fiat in a short phone conversation. She summed it up almost two decades later as Steinberg's "way of going always to the ones who were eager to bring in the money. He had a way of going to more and more compet.i.tive representation."

STEINBERG SAID HE STOPPED TRYING TO write a diary because doing it made him get used to being happy and he didn't like the feeling. He preferred to complain about "real sorrows and some imaginary ones," listing a few but not specifying which was which. He was becoming even more "cantankerous (bisbetico, the dictionary says)." The voices he overheard grated, and he hated "gabbing people, the type who use you know or sort of." He could not stand the smell of perfume, so he went out of his way to avoid elevators and would not take buses. Not until the dreaded Christmas holidays were upon him and he was alone in Springs did he admit the real reason behind his "kvetching" (a Yiddish word he much admired but seldom, if ever, used in writing or in public): "Every now and then I'm afraid of finding myself alone, without any real family, my friendships distant or neglected or purely social."

A friendship that developed slowly but became important in his final years was with Prudence Crowther, whom he first met in 1984 when she contacted him about the collection of S. J. Perelman's letters that she was preparing for the Viking Press. She wanted to know if it was true that Perelman had been so touched by Steinberg's gift of a large collage that in exchange he had given Steinberg his copy of the first edition of the book that was "his bible, Ulysses," knowing that it was Steinberg's favorite novel as well. Steinberg told her the story was true and invited her to dinner. It was pleasant to find someone who had been close to his beloved old friend Sid and who could join him in recalling his wit and his skewed and quirky insights into the world he wrote about. Steinberg remembered how reading Perelman's stories in The New Yorker when he was a newly arrived immigrant provided "an invaluable shortcut to the cliches of American culture." When Prudence began to send Saul clippings from newspapers and magazines, he learned that she shared his and Sid's predilection for news of the offbeat, the weird, and the silly, and it cheered him to read the comments she made on the small notes or Post-its that she sent with them.

Saul discovered that he was comfortable in Prudence's company, and he enjoyed her friendship so much that once he had made the ritual (and almost desultory) pa.s.s and been gently rebuffed, he was content to let her become a boon companion and caregiver, but he no longer felt the need to seduce her. They saw each other sporadically until the mid-1990s, sometimes only several times in a single year. When he began to see her more frequently, he told Aldo that he was surprised by the realization that she was the "only" female friend with whom he had not had a s.e.xual involvement, which was a demonstration of his "evolution." It followed naturally that he would want to introduce her to Hedda.

Prudence believed that what Saul especially liked about her was how completely separate she was from the small circle of people he considered his close friends, but the most important quality she represented for him was that he saw in her someone in whom he could confide other than Hedda. He could tell Hedda anything and he did, but there were times when her unremitting honesty was not what he wanted to hear. Prudence was nonjudgmental and seemed to be able to cope with whatever came her way, but he was careful about what he confided to her. Increasingly he needed a buffer of protection and comfort, and that is what she provided. He wanted to share his new friend with Hedda, but also he wanted (perhaps unconsciously) for Prudence to learn about him through someone else's perspective, without his having to tell her directly about his personal life.

At their first or second meeting, Saul told Prudence that Sigrid was his "well-[pause]-fiancee." She remembered it as his "attempt to find a gracious way to acknowledge the attachment ... without getting into a complicated story he saw no need to narrate." When she and Hedda became friends, she often learned more about Sigrid from Hedda than she did from Saul, for "he trusted Hedda to explain the sentimental arrangement of his life in a way that was fair to all of them, and if it wasn't, well, he accepted that possibility, too. Hedda was ent.i.tled to her judgments."

Saul attempted to work out what he felt for Prudence in a conversation with Hedda when he sat in her kitchen on a summer Sunday afternoon. He began by trying to explain the general "remorse" that gripped him, telling Hedda that it was a "constant thing in my relationship with P" and it stemmed from "the old remorse-revenge thing" that colored so many decisions he made within his other personal relationships. He wrote in the diary that being with Prudence offered a chance to make "a change, a real change in my life that implies many other changes: honesty, sobriety, and prudence," using the lowercase letter to indicate the trait and not the person. After that, he wrote two words he did not explain further: "Work. love?"

The conversation with Hedda that began about Prudence moved naturally to Sigrid, and although they seldom talked about her except for generalities about her health or activities, Saul launched into details of their recent disagreements. This led Hedda to chastise him for a litany of accusations about who was the guilty party in their ongoing "war." As soon as she began, he realized that opening up to her was "a mistake: facts become gossip. Everybody, victim & judge show the worst of themselves. Hedda contaminated becomes petty." He felt "stupid, ugly, etc." and left as soon as he could get away.

STEINBERG WAS ALWAYS PROUD OF HIS membership in the American Inst.i.tute of Arts and Letters ("only 200 members," he told Aldo), but he was inordinately proud when he was inducted into the smaller, elite American Academy, boasting that he was now one of "the creme de la creme, numbering only 45." Being elected to the seat held by the late Isaac Bashevis Singer filled him with "surprising, unexpected, and innocent enough pleasure," but he still managed to put a morbid twist onto the "affection" the members showed by his election, claiming that nowadays "fear" was the only emotion he routinely inspired.

Another mixed pleasure came when his first cover in five years appeared on The New Yorker on January 13, 1992, "to universal surprise and astonishment." It showed a woman standing on a pedestal holding a violin aloft in one hand and a bow in the other, her wrists shackled with handcuffs from which broken chains dangled. It was one of the drawings he had made some time before and was followed by three more covers that year, all gleaned from the files, all fairly calm and traditional, in the Steinberg style that readers had come to expect. When Tina Brown replaced Robert Gottlieb as editor and appointed Francoise Mouly as art director, the covers took on the edginess and buzz that characterized Brown's tenure at the magazine. She selected one drawing for a cover in 1993, of a woman's face as a high-heeled shoe, that would qualify neatly to slot Steinberg into an affinity with Pica.s.so's late "monsters." When he succ.u.mbed to Brown's peace entreaties, three more covers followed in 1994. After that, whenever he felt he had something for the magazine, he either submitted new material or pulled old drawings from his files, but by then everything had become (again in Grooms's description) "tougher, grittier, and darker" on its own, without Brown's prompting.

Tina Brown was so intent on having Steinberg's art appear within the pages of the magazine that she put Mouly in "personal charge" of him, warning that he could be "heavy furniture." Brown, whose reputation was for brash and c.o.c.ky self-a.s.surance, took care to write Steinberg a personal letter explaining how she made editorial decisions and what she intended for the magazine to become under her leadership. She told him that she was well aware of the universally negative chatter about her, but what would sadden her most about "such absurd one-dimensional publicity" was if Steinberg were to let it convince him that all her choices were "suspect and exploitative." She hoped to persuade him that when she expressed enthusiasm for his work, she was being sincere: "I want to put something on the cover because I love it, not because I am obsessed with sensation." She hoped that over time he would believe that whenever she expressed approbation for his work, it was not an "irretrievable black mark" but rather sheer appreciation.

Steinberg never changed his initial negative att.i.tude toward Brown, that her emphasis was on "buzz" rather than thoughtful commentary, perhaps because he had been so close to Shawn and so respectful of the way he had run the magazine. Steinberg had a good relationship with Mouly, and as his love-hate relationship with the magazine continued, she became an acceptable stand-in for his earlier rapport with Carmine Peppe, Jim Geraghty, Shawn, and even Ross. When he had drawings he wanted to submit, he would invite Mouly to his apartment for long afternoon sessions of drinking espresso and slowly examining them one by one, all the while watching her face to gauge her response. As their formal and polite friendship developed, he counted Mouly as the one constant ent.i.ty in his professional contact with a magazine that he thought had degenerated into a frenzied glorification of celebrities and glitz. Steinberg still had a few old friends on the staff with whom he socialized, among them Roger Angell and Brendan Gill, and also Joseph Mitch.e.l.l, whom he never saw because he never set foot on the magazine's premises and Mitch.e.l.l never left his office.

After Brown persuaded Steinberg to submit new work to The New Yorker, he wrote to Shawn to tell him he had done so. Shawn did not reply to his letter, so Steinberg reached out again when The Discovery of America was published by sending him a signed copy. Shawn did reply then, saying, "Whenever and wherever your work appears, all of us have reason to be grateful ... I cherish your work whenever and wherever I find it." His letter was mistakenly dated December 8, 1992, the day he died of a heart attack, but he had written it earlier, because Steinberg received it on December 5. Steinberg thought of it as a "merciful" letter of farewell that forgave him for the "hurt" Shawn must have harbored, even though the four covers were file drawings and Steinberg had not submitted anything new since Shawn had been fired.

WITH SHAWN'S DEATH, THE OLD DAYS were well and truly gone, another indication that the world Steinberg knew was so changed that he was hard-pressed to find a place in it. In an attempt to raise his spirits, he set mental exercises to force himself to recall when he had been truly happy, and he concluded that the last time was June 15, 1960, when he had moved to Washington Square Village. He had to stop playing this mental game, because thinking about his first years with Sigrid made him sad to remember how long it had been since he had felt that "everything was possible."

Much of his unhappiness was caused by anxiety over Sigrid's escalating erratic behavior. He always used the term remorse to describe his responses to it, and frequently he a.s.sessed the range of emotions that gripped him when she was in one of her frightening downward spirals by making lists of them. Some months earlier, after she had read Kate Millett's The Loony-Bin Trip, she recorded her thoughts in one of the diaries she left behind in Springs so he would be sure to find and read it. Sigrid wrote of how Millett described "the awful helplessness of the ill person, not only in relation to what the world may do to her but what her own mind may do to her." Then she wrote: "-if I let it." Saul blamed himself for always giving in to Sigrid and letting her get her way through a kind of emotional blackmail, to which he always responded with "the same mistake." In this case, it was giving in to her insistence that she should be allowed to come to Springs while he was there. During a long night of sitting in the lotus position, he listed what had become a ritualistic litany of his a.s.sessment of her mental instability and how he always dealt with it: "Postpone, delay, cover up, ignore, deny."

She arrived by bus on Monday afternoon, June 10, and by evening he had consumed more white wine than he had drunk in a very long time. He was so alarmed by her condition that he invented excuses to be away from the house each day she was there, even something so uncharacteristic as "walking for two hours in foolish shops" on the streets of East Hampton to kill time after his car had been serviced. When he was in the house, things were so tense between them that when it was time for her to leave, on June 16, he took her to the Hampton Jitney even though he knew he would be driving into the city the next day for more of his ongoing dental surgery. While he was there, she went back to Springs to stay alone, and on June 27 managed somehow to get herself to the Southampton Hospital emergency room, where she asked to see a psychiatrist who could help her cope with "acute depression." She did not tell the physicians there that she was under the care of Dr. Armin Wanner in New York and left the hospital, apparently with a new prescription, to return to the house in Springs.

By July 5, Saul was back in the country and planning to spend the rest of the summer recuperating from several tooth extractions, which were followed by the first stages of implants. Sigrid was still there too, keeping to her quarters on the second floor, occasionally walking down to her "little house" studio, but mostly just sitting quietly outside in the sun. On July 13, when she felt so tormented that she thought she could not go on living, she went to her bedroom, swallowed a bottle of sedatives, smoked what she thought would be her last cigarette, and fell asleep. When she woke up, she was once again in Southampton Hospital, this time having her stomach pumped.

CHAPTER 44.

AFFIRMATION OF THINGS AS THEY ARE.

Something else, too, came to me from my illness. I might formulate it as an affirmation of things as they are: an unconditional "yes" to that which is, without subjective protests-acceptance of the conditions of existence as I see them and understand them, acceptance of my own nature, as I happen to be.

Steinberg found Sigrid in the upstairs hallway on the night of July 13, 1992. The sedatives she had taken put her into a restless sleep and she awakened in the haze of a nightmare, confused by loud sounds of banging, clanging, and smashing, all coming from the kitchen below her bedroom. Dreaming that she was a child in wartime Trier, she stumbled into the hallway to call for her father to end the noise and come to comfort her. When she tried to turn on the light, her fingernail caught in the switch and she called out in pain for her papa. The pain became so severe that it shocked her into momentary consciousness and she realized where she was and cried out for Saul. The next thing she remembered was "waking with his name in my mouth."

At first he thought she was merely high on drugs and booze, but then he took her back to her bedroom and saw the suicide note propped on the bedside table. In it, she asked him to forgive her "for doing this awful thing to you (and to myself). I can't go on." Sigrid's note explained that she had taken the overdose in the house because it was the only place she felt safe and she did not want to die in New York City. She implored him not to blame himself, for everything was all her fault, and without him she would have "perished long ago. Though you don't believe me, I loved you more than you know. Now I just want to sleep. It's too late." Her last sentences conveyed both astonishment and relief: "I finally did it. I can't believe it."

An ambulance took her to Southampton Hospital, where her stomach was pumped and she was kept under constant watch. Steinberg called her New York physicians, the psychopharmacologist Dr. Arnold Rosen and the Jungian psychotherapist Dr. Armin Wanner. There was some discussion about transferring her to a New York facility, but when the Southampton doctors determined that she was unlikely to make another attempt, everyone agreed she should stay there. "It's rather nice and beats the Hamptons parties," she wrote to Steinberg on July 17, even though a psychiatric ward was "a strange place to be on Quatorze Juillet." She told him she could go on and on describing the "fascinating patients," but she wouldn't because he would probably think she was "insane."

Several days later she was discharged into Steinberg's care and allowed to return to Springs until she was well enough to travel to the city. He did not want to send her off to be alone in her apartment and invited her to stay in the house, mainly so he could keep alert for further signs of trouble. She declined his offer because she was practically frantic about the need to see Dr. Wanner, whom she wanted to appoint as her proxy for health care. Once back in the city, she and the doctor signed a living will wherein he agreed to honor her wishes to have a "DNR: do not resuscitate." She settled into her apartment and resumed her therapy sessions with intensity, at first three to five times weekly, then gradually weaning herself to once, sometimes twice. Wanner told Sigrid that she must not discuss her treatment with anyone, particularly Saul. This worried Evelyn Hofer enough to tell him of her concern.

Hofer had been Wanner's patient, and she had recommended him to Sigrid shortly before she ended her own treatment. She told Steinberg that she feared Wanner was isolating Sigrid from the people who loved and wanted to help her, since he had also ordered her not to see Hofer and the several friends who lived in her apartment building and who routinely checked to see if she was all right. Wanner insisted that his request was merely part of the normal confidentiality between doctor and patient, but Hofer called it unnecessary isolation and "secrecy." She said that as Sigrid would no longer see or speak to her, it was up to Steinberg to do something. As Sigrid obeyed Wanner completely, all Steinberg could do was to support her treatment by paying her bills.

Now more than ever he was engulfed in all sorts of variations on his usual "remorse," particularly his knee-jerk responses of "delay, cover up, ignore, deny," which he had been invoking for the better part of the past year. To them he added unfocused anxiety and a great deal of fear and worry over what Sigrid might do next. In April, several months before the July suicide attempt, she had sent him a copy of a letter she had written to Arne Glimcher six years earlier when she gave him one of Steinberg's drawings to sell, one of the most meaningful gifts he had ever given her, which she sold to spite him. In the letter, she told Glimcher not to fear that she would make a public scene about her dissatisfaction with the price he obtained, because there was nothing she could do about it. Then she changed the subject and drifted off into talking about Africa, warning him that Africans have a saying, "Elephants and women never forget." Telling him that in Africa time and money do not have the same fixed meaning as in Western societies and that unresolved issues do not go away, she launched into what had been festering within her for years, her perception that Glimcher had such disregard for her that he ignored her completely and was unaware that she even existed. She was only writing to remind him that she did exist, and that he would never hear from her again. The letter was typed to this point, but she ended with a handwritten scrawl: "I had lots of fun writing this letter-I seem to enjoy writing crank letters."

She also enjoyed writing unsettling messages on the white fluted paper plates, such as the one she left lying on the kitchen table shortly after she sent Saul the copy of her letter to Glimcher. On it she wrote three words: "Reproche [sic], Remove, Revenge." A great deal of the last sentiment colored her behavior in the months leading up to the suicide attempt. She felt that she had been deeply hurt, snubbed, and humiliated by many of Saul's friends, and she wanted them, but especially him, to feel some of this same pain. He was shocked and in despair when she took a Giacometti drawing he had given her to Christie's and sold it for $70,000. It had been a gift to him from the artist, his dear friend, and he had given it to Sigrid because he was reluctant to express deep emotion openly and wanted to show that he loved her without having to put it into words, and he wanted her to have something he truly loved. Her share of the sale was $64,100, but such a large check did not stop her from inflicting more pain. She sent him color photocopies of two more of his drawings she had just sold, along with a note saying that as her demands were increasing, she should probably sign her name to this letter as James Joyce's spendthrift wife, Nora Barnacle, who, no matter how much she had, always wanted something more.

Sigrid blamed Saul for not using his influence to help her in the art world, and she was always frustrated by her inability to earn money, so she added up her total income for the year and left it where he could find it: "From Steinberg: $30,000, bank interest $873.68. That's all." Then she listed her medical expenses, a grand total of $30,279.17. She had Blue Cross insurance, which paid for $22,718.33, leaving her to find the remaining $7,520.84. Without comment or criticism, he paid, as he always did. Then she made another list, of all the things she had bought during her "depression and recent hypo/manic episode," a spending spree of $14,300 charged to credit cards issued in the name of "Mrs. Steinberg" and billed directly to him. She had charged new linoleum in her apartment and payment to the carpenter who put it down, a wheelchair that she needed after her back surgery, mirrors, other decorative objects, and-ominously-a coffin. Saul paid those bills too, without comment, and that made her even angrier, because he responded to everything with perfect equanimity and she could not provoke a rise.

In truth, he was so frightened that his own health was affected. He told Aldo that her suicide attempt had raised such powerful emotions within him that he "reflected the entire drama like a mirror." He thought he was having a stroke and rushed to Dr. Morton Fisch, his trusted internist of more than twenty-years, for tests. Dr. Fisch told him that people don't die of "powerful emotions." Often they died of blocked arteries, but Steinberg's were clear, his pulse was strong, and he was in excellent health everywhere but his teeth. He accepted that "n.o.body dies of heartbreack [sic]. They have a sick heart waiting for a strong emotion."

Still, he could not stop worrying, because Sigrid continued her ominous brooding. She became obsessive about collecting obituaries of people who committed suicide and articles that gave all the gory details of how they had done it, or of people whose lives ended at fifty-eight, the same age she was. On a photo of the novelist Sigrid Undset, she wrote that Undset was fifty-eight when she died, and next to it she added, "I am the same age as Lincoln when he died."

She continued to see Dr. Wanner, who was most likely responsible for her sudden intensive study of Jung's writings, which she also left lying about where Saul could find them. She photocopied many pages from Jung's letters, including one in which he counseled an anonymous patient whose life was made miserable by depression. Jung's advice for the letter writer was to seek one or two persons whom she could count on, to raise animals and plants and find joy in caring for them, to surround herself with beauty, and to eat and drink well. In summation, Jung advised "no half-measures or half-heartedness" in confronting depression head-on. The letter was important to Sigrid, for she followed every bit of Jung's advice, and by December she was euphoric.

Saul was in the city and she was alone in Springs on the six-month anniversary of the suicide attempt. She wrote a letter to tell him "how extraordinary" it was in the depths and darkness of winter to feel "wonderfully happy" with "blissful moments, just being alive." She wondered if her well-being was due to the heavy medication prescribed by Dr. Rosen, and she asked him whether her depression was "a biochemical deficiency ... like diabetes" that could be controlled by treatment. Dr. Rosen told her that she should face reality and prepare herself to revert at some point "to being like before." She was not ready to accept this verdict, because the medications were working so well and seemed to have no side effects. She did not feel "medicated" or anything other than "normal," and the inference in her letter was that she would accept her "problem" and then hope for the best. She just wanted Saul to know how "glad and grateful" she was to be alive, and to thank him for saving her.

Sigrid wrote about her feelings in one of the notebook jottings she made from time to time, this one perhaps for Wanner, perhaps for her own understanding of her fluctuating moods. "Everything is going so well it is almost frightening," she wrote, adding somewhat defensively that feeling good was her long-overdue reward for having "fought for it through superhuman efforts to do it all." Nevertheless, she was frightened that she "might not have the faith to enjoy it all."

As Dr. Rosen had predicted, the euphoria gave way to unfocused anxiety. As the winter ended, so too did her well-being. She sent another worrisome signal when she clipped a newspaper letter to the editor written by a Harvard professor who was commenting on the brightness of some of Mark Rothko's last paintings; Sigrid underlined the pa.s.sage "beware ... of depressed people who [appear to] recover suddenly ... and who a.s.sume a calm and settled purposefulness. Not a few have decided to die." Next to it she attached an article about Cezanne in Aix, again underlining a pa.s.sage: "For me, what is there left to do ... only to sing small."

STEINBERG REMAINED "CONSTANTLY WORRIED" ABOUT SIGRID, which impelled him to try to fathom what she was thinking in an effort to help her stave off another depression. Even though she kept insisting that she was so much better, he could not accept it, because when she was with him she was "removed from life," remote, uncommunicative, and lost in thought. He saw the books she left lying around, deliberately placed where he could find them, especially Jung's autobiography, Memories, Dreams, Reflections. He decided to read them all, even though he disdained psychotherapy for himself and now, because of his concern about Wanner's therapeutic methods, for her as well. As Steinberg read Jung's life story, the pages that resonated most were those where he wrote of himself in old age as he was recovering from a serious accident.

In one of their earlier conversations, Evelyn Hofer had tried to explain Jung's theory of individuation, but she did not express herself clearly and Steinberg wasn't interested enough to ask her to explain further. He did not understand what she was trying to tell him until he read the several pages of Jung's autobiography where he described how he had slipped on the ice and fallen, been hospitalized with a broken leg, and then been beset by a life-threatening illness. When he recovered, he began his most "fruitful period of work" and wondered what had happened to provoke such a torrent of writing. He concluded that he was somehow responsible for the accident, and in its aftermath he had had to recognize himself for what he was-"my own nature, as I happen to be." Jung had to accept that he was fallible, could make mistakes, and when certain things were beyond his control, he could not control the outcome. What he learned was that an individual could control one thing only: to "forge an ego that does not break down when incomprehensive things happen, an ego that endures, that endures the truth, and that is capable of coping with the world and with fate." Reading Jung's text provided Steinberg with relief and absolution: he wanted to believe that he had done everything in his power to ensure Sigrid's mental health and stability; he needed to believe that he was not responsible for her behavior, and that her inner conflicts were far beyond his control.

Jung never became one of the philosophers Steinberg quoted, nor did he discuss Jung's writings with Hedda Sterne, who shared his disdain for most psychoa.n.a.lytic theory, or with Aldo Buzzi, the faithful sounding board who always responded to everything Steinberg told him with insight and understanding. These several pages of Jung's were the only ones that resonated deeply enough for Steinberg to photocopy and highlight, and to place in a folder where he could easily find and reread them. Through Jung, Steinberg learned that "one does not meddle inquisitively with the workings of fate," but it was not something he accepted easily, if at all.

STEINBERG WAS STILL COMPLAINING ABOUT HOW The New Yorker had changed and railing against what he thought it had become: flashy, trendy, and dedicated solely to making money. And yet he could not let it go: "I can't. It's my magazine. I played a major role in creating it." He was glad Shawn was not alive to see what it had become. He clipped articles that criticized Tina Brown's stewardship and highlighted the parts with which he agreed, as he did with the writer Jack Miles's "endpaper" in the Los Angeles Times. Miles wrote that the magazine had stopped being a "calm" publication that reflected and shaped "a broadly American and democratic culture" and had become "increasingly anxious ... buying and selling the buzz." Steinberg put this piece into his "America's Book" file, along with a host of other articles that responded to the New York Times columnist Bob Herbert's frequent use of the phrase "the dumbing down of America." Just as bad as its dumbing down was the magazine's new "shoddy" design, and on the rare occasion when it contained an article Steinberg thought lived up to its past standards, he called it "fine wine in an ugly filthy gla.s.s."

His irritation with The New Yorker and his general malaise were symptoms of his usual wintertime blues, always compounded by the barren and dismal countryside. He felt isolated when bad weather confined him to the house, but because of what he now referred to as "the incident of last year," he did not like to be there at all. He was uneasy in the country, so he pa.s.sed most of each day working lackadaisically in the studio for the mere experience of doing something rather than doing it for satisfaction, let alone pleasure. Instead of creating new work, he drew portraits of friends and people he knew, either from life or from photographs. He drew his old friend Joseph Mitch.e.l.l because "he's one of those people who already looks like he was drawn by me," and he drew quite a few of a casual friend to whom he had recently become close, the poet Charles Simic. He felt an affinity with Simic, a Serb who came to America as a teenager and, like Steinberg, "remembers everything about the earlier days."

Steinberg was musing on the concept of fame as he made the portraits or the book-shaped blocks of wood that became a deliberately unreadable library when he drew only the authors' names without any of their t.i.tles. The wooden books const.i.tuted a game similar to one he liked to play when he made portraits, drawing some as caricatures and making others in the style or manner of different schools of drawing. Playing with portraits and blocks of wood were two diversions from the nagging fear that most of the other work he was doing was disappointing and of doubtful value.

IN THE CITY THERE WAS A GREAT DEAL of the kind of entertaining he detested even though he went anyway, of visiting Europeans who were given large parties where recognizable American faces and names a.s.sembled to greet them. There were intimate expensive lunches and dinners at which he was the honored guest of those who wanted to use his art in some way and who thought wooing him with rich food and fine wine was the trick to persuade him to give them what they wanted. It was too much for Steinberg's almost eighty-year-old digestion when Stefano, the "young and well-nourished son" of Umberto Eco, took him to such a lunch to persuade him to prepare a book of drawings about Italy. At first Steinberg equivocated, but as soon as he found out that Eco and his colleague, the poet Luigi Ballerini, wanted to "resuscitate" some of his Bertoldo and Settebello drawings, he ended the discussion and strictly forbade them to reprint anything connected to those years. Some weeks later he was invited to an elegant supper party for Umberto Eco "at the home of his publisher, many famous people." It was a "horrible" evening, where so much "fame" struck Steinberg as "nothing but the maintenance and administration of a publicity campaign no different from commerce." He liked Eco's wife, but as for Eco, "that big beast of a husband knows everything about the art of celebrity."

Eco's American editor was Drenka Willen, a Serbian like Simic, whose work she also edited. Steinberg had known Willen since he met her at Dorothy Norman's in East Hampton in the early 1980s, and he liked to talk to her, because she edited distinguished European authors (Italo Calvino and Gunther Gra.s.s, among many others) and routinely sent him copies of their books. She introduced him to Simic, and when Simic asked him for drawings to ill.u.s.trate one of his books, Willen tried to pay the usual fees. Steinberg would not hear of it: they were all friends, and this was an act of friendship. He got into the habit of enjoying casual suppers at Willen's Greenwich Village home, and when the Simics were in town, he invited her and them to his favorite neighborhood Turkish restaurant.

Other supper parties that he did enjoy were given by Shirley Hazzard and Francis Steegmuller. They invited small groups of cultured and intelligent people to gather in their perfectly appointed dining room, to eat exquisite meals appropriate for elderly digestions, and to talk about literature, particularly Steegmuller's new translation of the FlaubertGeorge Sand correspondence. Reading the book was one of the few experiences Steinberg enjoyed in that long and grim winter of 1993. He especially liked the way Steegmuller retained French phrases and expressions without translating them, thus ensuring that the book would remain "a cult item" that did not pander to "dumbing down" in English. One year later he had to write a condolence letter to Shirley Hazzard, telling her of his "loyal love for the man whose work gives me courage and normality" and of his admiration for Steegmuller's "lack of interest in that debilitating pa.s.sion, the maintenance and propagation of fame."

Steinberg, Priscilla Morgan, Peter Duchin, and Joan Mondale at the opening of the Isamu Noguchi Museum. (ill.u.s.tration credit 44.1) As the dreadful winter dragged on and spring seemed unlikely to come, Steinberg decided to try "an experiment." He wanted to do something he had never done-to give a dinner party-and he asked his housekeeper, Josefine, to prepare her specialty, paella. He took such interest in the evening that he even shopped for "a couple of salads" and a "nice" cake. He planned to invite trusted friends, William Gaddis and Muriel Murphy, and "a civilized young woman named Prudence [Crowther]." Gathering them at his table, he knew that he could count on an evening of good conversation without the background noise that made dining in restaurants unpleasant for elderly gentlemen such as Gaddis, who had trouble hearing. The evening was indeed a great success, but Steinberg never repeated the "experiment."

He read a great deal that winter, most of it English fiction, reveling in the discovery of Henry Green, whose elliptical one-word-t.i.tle novels were full of "hidden surprises." It made him go back to and finally finish Gaddis's JR, because he thought Gaddis was of "the same family" as Green. Someone sent him a copy of Joseph Brodsky's Watermarks, but he declined to read it because the critics lavished so much praise on it, and critical praise always made him "suspicious." Evelyn Waugh was "a discovery" that surprised him. Another author who made him reach out in search of friendship was Alice Munro, whose stories he first read in The New Yorker. For the next several years, Steinberg sent Munro drawings, wood carvings, and other small tokens of his work to accompany his letters of praise; she replied to all of them with reserved pleasure and an air of slight surprise at being so singled out by an artist with such literary discernment.

Brian Boyd's biography of Steinberg's friend Vladimir Nabokov gave him hours of pleasure, even though each tome of the two volumes was so heavy he could not hold it to read in bed. He dipped into the biography off and on for well over a year, a bit miffed that he was mentioned only once, when Nabokov wrote to a friend that he had just had a "marvelous visit with the marvelous Steinberg." He wondered how Boyd could have overlooked Nabokov's statement in the introduction to his novel Bend Sinister that Steinberg was the artist and "rivermaid's father" who drew "the urchins in the yard" in chapter 7, or how he could have missed Nabokov's in-joke when he added that "the other rivermaid's father" was James Joyce. However, his main reason for rereading the biography was that he found so many correspondences in their lives: Nabokov had suffered from troubles with his teeth and had also consulted a long list of physicians who treated his various ailments, and he too had had ongoing "struggles with editors, publishers, lawyers, biographers, relatives." Steinberg was amazed at Nabokov's productivity and saw himself in comparison as "extremely lazy, my biggest flaw." It was probably the most inaccurate self-appraisal he ever made.

AS SPRING 1993 APPROACHED, THE URGE to travel returned. Dr. Fisch told Steinberg that hypochondria was what kept physicians in business, but Steinberg was still convinced that he had all sorts of genuine maladies and made a reservation to go to the uberlingen spa in April for his usual cleansing and purifying rituals. This time, however, he wanted to be somewhere warm and sunny, so he went to the branch clinic in Marbella, Spain, instead of the main facility in Switzerland.

He flew to Paris first, staying in the high-rise PLMSt. Jacques Hotel, where he could see much of the city from his room on the fifteenth floor. He did not tell anyone he was there and walked familiar streets "blessed with invisibility...avoiding the d.a.m.n sycophants." He went to Cachan to visit his niece, Dana, who was living with her husband and children in the house he had bought for his sister many years before. The next day he and Dana rambled around Paris like two sightseers, and when they got to the Place des Vosges, Steinberg felt the urge to visit Victor Hugo's house. At the ticket window he asked for a ticket for an ancien combatant (senior citizen), and the attendant demanded to know his age. When Steinberg told him quatre-vingt (eighty), the man was so surprised that he told the two of them to go in for free. It was a nice boost, since Steinberg was leaving the next day for the clinic and in antic.i.p.ation had begun to feel as old and crotchety as someone twice his real age.

The stay at the Marbella clinic was not the pleasant experience he had hoped for but one he summed up as "the rich live badly and pay through the nose." The beach was "miserable black slime," so he spent most of his time in his room, making notes about the fasts he endured, the people he met, and his ruminations on all sorts of things that struck his fancy. Throughout the notes there were tinges of the depression he had gone to the clinic to avoid. Harking back to 1924, the watershed year when he was ten and began to realize the awful reality of daily life for a Jew in Bucharest, he searched for a good memory to dispel the black mood that such reveries induced. He remembered that his first responses to art were emotional, and whenever he looked at colors, read a book, or went to the movies, he equated everything with "sadness." As an afterthought, he added that "maybe all emotions" were connected to sadness. He made several charts, one of the births and deaths of "great people" and their ages when they died and another that he called "biography" for some of them: Corot was "tall," Delacroix was "the illegitimate son of Tallyrand," Ingres was "a Chinese in Athens," and the British historian Peter Green was an "Aristotle who looked like the young Disraeli." For each he gave height, weight, and "head and foot size." He also made lists, such as the one for "simple and strong words (composite)," which featured (in his orthography) "icebox, jukebox, s.h.i.thouse, bada.s.s, kneehigh, larda.s.s, junkyard."

IT WAS A RELIEF TO GO HOME and find that Sigrid's condition had not worsened. He knew that he would have to face further drastic situations, but for the time being he could avoid them. He rejoiced in his own good health and "the companionship with one's selves that is essential, the ancient friendship with one's memory, senses, and instincts." His birthday was always a movable celebration, and that year he chose June 28 instead of June 14 or 15. Hedda sent a note asking him please to advise her on what day she should extend congratulations, and what about Joyce's "Bloomsday," June 16-had he given it up, or did he still celebrate that date as well?

The summer in the country was "paradise" until late August, when Hedda, aged eighty-four, fell in her house and broke her hip. As her husband, Saul was the first person the hospital notified, and he rushed to the city to take charge of everything. Hedda was both grateful and amused when he arrived at the hospital "so worried and caring that all the nurses thought he was the ideal husband. It was the first and last time he behaved like that." He was proud of himself as he organized her hospital stay with daily visits and a retinue of private nurses, whose chief responsibility was to keep the rubbernecking friends at bay-from him as well as from Hedda. When it was over, he complained that all this unusual activity left him bored and exhausted. He told Hedda that it was lucky that they had money "and the other important thing, friendship and love." Once he was certain that she would be properly cared for at home with round-the-clock nursing, physical therapy, and her books and other diversions, he went back to Springs. They resumed their daily telephone conversations, but this time "with added intensity," because Hedda, "who used to be the mama, now becomes the daughter, too."

STEINBERG MADE CERTAIN TO LEAVE TIME to be with Sigrid, and in February 1994 they went back to St. Bart's, where they had always been happy together. He noted how well she seemed when she had tasks to perform that kept her from brooding about herself, and as she always coped well with administrative details, he put her in charge of making travel arrangements and supervising their activities once they arrived. As her usefulness made her feel confident and secure, he relaxed and enjoyed the vacation. Afterward, he relived it in his mind. "My happy memory of St Barth remains and grows," he told Aldo.

In March and April there were two shows in New York, "Major Works" at the Adam Baumgold Gallery and "Saul Steinberg on Art" at Pace. Bernice Rose curated the Pace show, and Steinberg praised her for "understand[ing] drawing (a rarity because most curators devote themselves solely to painting and sculpture)." He had three covers on The New Yorker in 1994 and some drawings inside, and he selected a number of black-and-white drawings for his friends Barbara Epstein and Robert Silver to use in the New York Review of Books. For a time he thought he could re-create the relationship that he had had with The New Yorker with the Review, but although it was always cordial, it never matched the one he remembered with such fondness. He could not live without at least some connection with the magazine, so he grudgingly "made peace, more or less," and began to submit drawings with some regularity.

Always intrigued by imaginary maps, he had a new idea when he saw a zip code map of Manhattan and converted it to a map in which parts of the city corresponded to parts of Israel: Riverdale became the Golan Heights, the East Side was the West Bank, and all the territory below Houston Street was Gaza. The Bronx, Brooklyn, and Queens became Lebanon, Syria, Iraq, Jordan, and Saudi Arabia, while the northern tip of Staten Island became Egypt. "Of course Tina wants it for the noise," he wrote to Saul Bellow, "as the zip zones become symbols of the balkanization of everywhere." He sent a photocopy to Bellow with the instruction "SECRET EYES ONLY," asking for his judgment as "friend, artist, and rabbi." He was well aware of how many groups the map would offend, everyone from Jews to Arabs, African-Americans, Israelis, and residents of the boroughs, "and of course the selfrighteous [sic] and stupid." Hoping to mitigate at least part of the antic.i.p.ated protest, he removed the two things he thought the most controversial: the Metropolitan Museum as Jerusalem and Zabar's as Tel Aviv. He told Bellow that making the map inspired him to create another one, of how Europe would probably appear in the year 3000, and he would send it as well. Bellow advised caution, which made Steinberg even more uncertain about publishing than he had been, and after protracted wavering by Brown, he withdrew both pieces. He had already been paid $10,000 for each one, and he sent both uncashed checks back to Francoise Mouly, asking her to "return to me all photocopies of the magazine-it may fall into the wrong hands."

STEINBERG HAD ANOTHER BOOK IN PROGRESS, one he was not at all sure about, but Aldo Buzzi wanted it to happen and so he agreed to consider it seriously. It had been germinating for the past two decades, mainly when he rented vacation houses in East Hampton for Aldo and Bianca. Aldo thought Steinberg's reveries about his life and work would make an interesting book, and so the two men spent long afternoons in 1974 and 1977 tape-recording his memories. They spoke originally in Italian and for many years dithered over a typescript and an English translation. Steinberg was reluctant because he thought the conversations too biographical and more revealing of himself than he wanted. Now that both men had achieved the venerable age of eighty, Aldo insisted that it was time to work seriously. To persuade Saul to do it, he said that it would be published first in Italy, where the likelihood that an American publisher would see it was slight, and the possibility that one would buy the rights and pay for a translation even slighter. Thus guaranteed a modic.u.m of anonymity, Saul agreed to give it a try.

Steinberg called their collaboration "The Book of Saul," and as his memories resurfaced, he found many of them so upsetting that he cautioned Aldo that they might disturb him as well. His permanent memory of childhood was of being frightened because he was Jewish and then of being corrected and scolded by everyone in a place where "even dogs gazed at us reproachfully." When he escaped to Milan, his initially happy student days in the Via della Sila gave way to "a terror mixed with curiosity about the future." Most of all as he wrote his impressions of himself as a younger man, he thought about his family and mourned many aspects of their lives, particularly that of his father, in whom he discovered qualities he had not been mature enough to see at the time. Saul remembered how Moritz would concentrate his compete attention on an object or event and realized that this was indeed a rare quality, "a man in the act of thinking something through, stockpiling it, the beginning of art."

Steinberg and Buzzi talked about and sometimes reworked some of the material that became the book Reflections and Shadows whenever they were together, and Steinberg volunteered information for it whenever they were not, mostly in letters but sometimes in telephone conversations. For any number of reasons, but mostly because of Steinberg's unwillingness to present himself so openly, the book that was begun in the 1970s was left hanging in 1994 after he "thought it over once more." When he read what was to be the final text of conversations that had happened twenty years before, his initial response was "with pleasure, with surprise," but when he cast his editorial eye on them, he did not think they withstood the test of time. He had no desire to reread any of it, and he doubted that others would want to read it even a first time. He decided that it was too much "a doc.u.ment of that era" and revealed a "primitive side" that made him uncomfortable. Reluctantly, Aldo withdrew it.

Reflections and Shadows was not published until 2001, after Steinberg's death and then only in Italy. In 2002 it appeared in an English translation, a charming little collection of vignettes in writing and drawing. When Aldo Buzzi edited it, he explained that his beloved friend had withheld it because he was "a man full of doubts" who might have felt that "as a writer he was not up to his own level as an artist, an artist who used to say that he was a writer who drew instead of writing."

STEINBERG WAS MORE AMAZED THAN CELEBRATORY when he wrote across a clean sheet of paper, "June 28, 1994: Today I'm 80!" Working on Reflections and Shadows, coupled with his increasing concern about Sigrid, made him aware that time was pa.s.sing and he had not done all that he should to prepare his estate for his eventual demise. She was in one of her hyper periods, on medications she liked because they kept her from being depressed. She chastised Saul for being fearful rather than grateful and for making a deal with her to "keep quiet or go talk to the cat or my chickens."

Steinberg had always been careful to provide for himself so that he could provide for others. He bought life insurance the first year he came to America and increased it periodically after that. He set up a financial portfolio at the same time and followed what was sage conservative advice from his tax accountant and investment adviser. He kept a sharp eye on his galleries and publishers and had a keen knowledge of what his own art was worth, and he had his significant holdings appraised by professionals. He also had his collection of the works of other artists appraised; most of them skyrocketed in value, like his $400 Magritte that became worth millions. When everything was added up, he had full knowledge of his impressive total worth. And as litigious as he was, he never boasted but always let his close friends know how pleased he was the few times that his lawyers allowed him to take legal action against the misuse of his intellectual property, for he won his case every time, and these settlements also added to his estate. He was always careful about updating his will, and after he and Hedda completed their "financial divorce" (as she called it), he was legally free to disperse funds and grant bequests to whomever he wanted. He had always planned to leave the major part of his estate to Sigrid and to make her his executor, because she was so much younger and likely to survive him. But now, with her deepening depression and her wildly fluctuating behavior during her manic periods, he thought he should consider other ways to protect his estate and still ensure her well-being.

He was also thinking about what to do with his ma.s.sive archives. He had engaged professional photographers off and on throughout his career to take photographs of his works and then had the eight-by-ten-inch photos encased separately in plastic sheets before filing them chronologically. On his own initiative, he thought of contacting the Smithsonian Inst.i.tution to ask if it would like to house his papers, but he had not yet done so when John Hollander wrote to ask if he would consider leaving them to Yale. Hollander explained that the Beinecke Rare Book and Ma.n.u.script Library would be the repository and everything would be readily accessible to scholars and other interested readers and viewers. Steinberg had enjoyed his affiliation with Morse College and was proud of his honorary degree from Yale, but he did not make a decision until 1995, when he gave everything to Yale, "mostly because not having children or a loyal family, I wouldn't want the intimate details, etc." He explained his decision by telling the story of something he had witnessed many years before as he was walking down Bleecker Street. He saw "a flock of letters, postcards, papers," that had blown out of a trash can and were floating all over the sidewalk and the street. Like other pedestrians, he picked some up and read them, becoming engrossed when he saw that they were in Italian, poignant letters written by the families of Italian immigrants. He watched as other pa.s.sersby picked them up "and then-goodbye, back to the sidewalk!" It was a deeply disturbing episode, and it left a lasting impression on him.

Steinberg, who could not bear to reveal "the Saul of 1960" for a small book published in a foreign country and language and who had difficulty giving a basically honest answer to the rare interviewer who asked the occasional probing question, was nevertheless determined that when it came to revealing himself for posterity, he would be the one to decide what to do with his archives: he saved everything, and he left it all to Yale.

STEINBERG STOPPED READING THE New York Times because he found himself turning immediately to the obituaries, surprising himself by studying them with "curiosity ... searching, strangely enough, for my own." June was his birth month and always a reminder of age and infirmity, and the month when he went "like a sleepwalker" to a memorial for Ugo Stille that "stirred up all kinds of powerful emotions." Next to Tino Nivola, Stille was the only friend with whom he thought he had had perfect communication. Thinking of friends who were gone, he went through his files until he found a snapshot of himself, Tino Nivola, and Bill de Kooning, posed in front of Rodin's Burghers of Calais and taken in 1968 at the Hirshhorn Museum and Sculpture Garden in Washington. Now Tino was dead, and Bill had been in decline with Alzheimer's for the past fifteen years. Steinberg felt sorrow that such a vital man was kept in the world only because of the constant ministrations of attendants, a "definition of immortality," but at what a cost to the soul.

Other things that he thought of as fixed and long-lasting were shifting and changing. It was a "tragedy" when Muriel Murphy and William Gaddis separated, and a loss of epic proportion when Sandy Frazier moved his family back to Montana for the second time. Before Frazier left, he visited to say goodbye and a.s.sure Steinberg that he would be back. Steinberg's only acknowledgment was to spread his hands in a gesture of despair.

He was constantly worried about Sigrid, and he took her to St. Bart's again in February 1995 for what he hoped would be a repeat of the previous year's happy vacation. After several days she suffered a breakdown so severe that she had to be sedated for the flight back to New York, where she was hospitalized in the care of Drs. Rosen and Wanner. Steinberg coped by invoking Jung's interpretation of his own accident, pleased that he did not consider it a tragedy and could accept it as a "duty" and find "consolation ... in doing normal things," such as phoning the doctors from the plane to alert them that she was on the way to the hospital and instructing the taxi driver how to get there. Still, every time he was alone in the evening, trying to console himself and obliterate the memory by staring blindly at the television screen, he could not keep fury at bay. He exploded every time he thought about Sigrid, enraged over the solitude her condition caused for each of them and, for him, the adjunct sadness of old age.

Nivola, de Kooning, and Steinberg in the Hirshhorn Sculpture Garden. (ill.u.s.tration credit 44.2) By the end of the year he had an "absence of terror," thanks to the newly prescribed Librium and the freedom from appointments with doctors and dentists, who had all taken off for holiday vacations in warmer climes. He was unusually quiet and solitary over the holidays, mostly because he lost his appet.i.te and with it significant weight, which he could hardly afford to lose. Dr. Fisch had put him on a health program, and once a week a personal trainer came to his apartment to put him through a regimen of yoga and weight training designed to build his strength and increase his appet.i.te. When the new year, 1996, began, so too did his appointments with doctors, by now a routine round-robin that had him on the elevator from floor to floor, as many were in the same building. He started his appointments of 1996 with the dentist, after which he would go directly to Dr. Fisch. "This time," he told Aldo, "I'm going there with fear."

CHAPTER 45.

WHAT'S THE POINT?

The tragic depression, the constant and inexplicable terror, have pa.s.sed for the moment. Perhaps they will return.

During an examination in October 1995, Dr. Fisch told Saul Steinberg that he probably had thyroid cancer. It was an enormous shock, as two years before Dr. Fisch had noted that his neck glands were enlarged but "definitely not malignant." Steinberg's first indication that things had changed came during his stay at the Marbella clinic, where routine blood tests unexpectedly revealed the presence of tumorous activity. When he returned to New York, Dr. Fisch saw a significant physical change and ordered a CT scan of his chest and abdomen. A second CT scan confirmed the likelihood of "medullary carcinoma of the thyroid gland," and Dr. Fisch referred Steinberg to Dr. Jatin P. Shah, the chief of head and neck services at Memorial Sloan-Kettering Hospital. Throughout early December, Dr. Shah scheduled tests that showed "extensive lymphadenopathy," and when Dr. Fisch confirmed that the glands had been enlarged for five years or longer, Dr. Shah concluded that the recent changes suggested Steinberg might have lymphoma. He scheduled a neck node biopsy for December 19, and Steinberg initially agreed to it. But several days beforehand, he claimed he had the flu and postponed it. Dr. Shah noted on his medical records, "I have a feeling that his psychological make up did not permit him to go ahead with the biopsy."

Steinberg delayed until mid-February 1996, when the biopsy was finally performed and did confirm thyroid cancer, with the official diagnosis of "medullary carcinoma of the thyroid gland with bilateral cervical and mediastinal lymph node metastasis." His physicians agreed that he did not need immediate "active surgical intervention" but kept him under observation until he could get used to the diagnosis and decide what to do. Two weeks later, when a subsequent examination found no change in the original finding, Dr. Shah told Steinberg he had two treatment options: he could have surgery to remove the ma.s.s, or he could continue to live with it while keeping it under close observation. The medical report noted that the patient was still unable to make a decision and needed more time to think about his options. Dr. Shah concluded that taking more time was acceptable, because Steinberg was in "remarkably good health for an 81-year old man ... a cartoonist still actively working" whose only prior surgery had been a childhood tonsillectomy.

Saul Steinberg in his early depression. (ill.u.s.tration credit 45.1) Throughout December, as Steinberg's doctors compiled his medical history, a portrait formed of a man in as much mental distress as physical. He was a "robust" eighty-one-year-old who had blood in his urine and took Librium for severe anxiety. He had not smoked a cigarette since 1972, but his recreational drug of choice was "gra.s.s, last used in June," and he drank "more than seven" alcoholic beverages every week. He ticked "yes" to "feeling sad/depressed, anxious, hopeless, guilty, and suicidal," and he also answered "yes" to "Have you ever planned or attempted suicide?" A subsequent, more in-depth examination concluded that he had "a severe depressive disorder for which he has been treated with Prozac and Zoloft." Steinberg told the examiner that he stopped taking the drugs because he was unable to tolerate them, but the doctor concluded that he had not taken them long enough to gauge their effectiveness. The doctor next prescribed Lithium, which Steinberg took for a while but stopped when he decided that it too did little to relieve his depression.

Six months later, in August 1996, Dr. Fisch retired and Steinberg transferred his care to Dr. Jeffrey Tepler, an internist recommended by William Gaddis. Tepler's diagnosis was far blunter than Fisch's: "He has had suicidal ideation...He has had many other vegetative symptoms and has become quite nonproductive." Dr. Tepler believed that thyroid cancer had been present for at least nine years, although no symptoms had manifested until recently. Because the tumor was indolent, Steinberg did not need surgery to remove it, but he did need hospitalization for "severe depression which has worsened over the past several months." Dr. Tepler sent him to Silver Hill in New Canaan, Connecticut, a hospital specializing in psychiatric disorders and substance abuse. From August 20 to August 31, Steinbe