RICHARD GILMAN
417
teristically quiet irony Kroetz calls
Table Conversation,
a man and
a woman, lovers or at least sexual intimates, exchange these words:
Mary:
Once we 've got a room you can go to the john.
Karl: 'Cause it's cold there .
M:
A person just can't take everything lying down.
K:
Right.
M:
'Cause you're a filthy pig.
K:
That's what you are , what's that make me?
M:
You 're off your rocker.
K:
That'swhat you are, what's that make me?
M:
You 're horny , but you can't get it together.
K:
That's what you are , what's that make me? I don 't give
a
shit.
M:
Don't eat
if
it don ' t taste . Think I'd stop you?
K:
Not you , cause I wouldn 't ask.
M:
Don't bother eating
if
it don't taste.
K:
Tastes O.K.
M:
You don'tlove me no more . That's it.
K:
If you're so smart.
Later, after the woman has revealed her pregnancy, the man
gives her a crude abortion. A scene called
Finding the Truth
goes as
follows, in its entirety:
M:
Can I tell you something?
K:
Why not.
M:
I've got a pain .
K:
Then pull yourself together, you'll manage , just don't
think about it.
M:
Right. One should never lose hope.
K:
So what do you want?
M:
I just don' t know anymore.
K:
Probably something-stupid anyhow.
M:
Right . 'Cause I forgot .
K:
Always gotta add your two bits.
M:
Why?
K:
There!
M:
'Cause I'm human too.
K:
That's something.
Now the painfulness of these exchanges arises both from their
substance, naturally, but even more from their relation
to
the play's
