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AMORALMAN

A True Story and Other Lies

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Paperback
$17.00 US
On sale Feb 01, 2022 | 256 Pages | 978-0-593-08111-2
Here is a thought-provoking and brilliantly entertaining work of nonfiction from one of the world's leading deceivers, the creator and star of the astonishing theater show and forthcoming film In & Of Itself.

Derek DelGaudio believed he was a decent, honest man. But when irrefutable evidence to the contrary is found in an old journal, his memories are reawakened and Derek is forced to confront—and try to understand—his role in a significant act of deception from his past.  

Using his youthful notebook entries as a road map, Derek embarks on a soulful, often funny, sometimes dark journey, retracing the path that led him to a world populated by charlatans, card cheats, and con artists. As stories are peeled away and artifices are revealed, Derek examines the mystery behind his father's vanishing act, the secret he inherited from his mother, the obsession he developed with sleight-of-hand that shaped his future, and the affinity he felt for the professional swindlers who taught him how to deceive others. And once he finds himself working as a crooked dealer in a big-money Hollywood card game, Derek begins to question his own sense of morality, and discovers that even a master of deception can find himself trapped inside an illusion.

AMORALMAN is a wildly engaging exploration of the fictions we live as truths. It is ultimately a book about the lies we tell ourselves and the realities we manufacture in others.
 
ONE OF NPR’S BEST BOOKS OF THE YEAR

“Every magician is, or wishes they were, masters of secrecy and deception. But what if you are a magician who doesn't want to deceive? Derek DelGaudio has given us a story about how and where we find truth, and he takes us through some very dark places to get there. We learn how a nice young man became a professional card cheat in a most dangerous game, we learn about magic, and about the shadows in Plato's Cave, about illusion and reality, until we finally discover that the book in and of itself is a magic trick—one that holds out the hope that we can all learn to walk out of the deceptive and cavernous darkness and into the light.” —Neil Gaiman 

“The old hustler’s adage holds that ‘the game is sold, never told’—meaning that anything you learn will cost you. AMORALMAN is a riveting ledger of one man’s education, a parable about the lines between grifters and marks, a moral man and an amoral one. Buy this book—it’s cheaper than not buying it.” —Jelani Cobb

“A sublime enlightenment. A disappointment only in that it came to an end.” —Tom Hanks

“AMORALMAN now joins The Matrix in proving you can turn French philosophy into compelling entertainment.” —Elisabeth Vincentelli, The New York Times
 
“In a magic trick, the moment of revelation is essential: the spectators are amazed, not only because what they’re seeing defies explanation but because they should have seen it coming all along. The end of DelGaudio’s story has that effect, but instead of an ace of spades there’s a moral epiphany—an existential ta-da!” —Michael Schulman, The New Yorker

“A boy enthralled by magic becomes an accomplished swindler. . . . In his entertaining debut memoir, performer, artist, and magician DelGaudio recounts his transformation from a child who loved magic tricks to a professional card cheat immersed in a world of high-stakes grifters. . . . Throughout, he creates animated portraits of the many nasty characters he encountered and conveys a vivid sense of the greed and deception pervasive among gamblers, shills, and liars. . . . A lively tale of immersion in—and escape from—the underworld.” —Kirkus Reviews

“[A] masterly memoiristic account of lying and self-deception. . . . This is a story of unending ironies and misconceptions. That which we expected to be the truth is a lie, or at least a partial fiction. Anecdotes could be true, but falsely attributed. Intentions could be and are misrepresented or misunderstood. Good guys turn out to be bad guys and vice versa. And the purpose of magic and sleight-of-hand in such a universe? It goes back to Plato’s cave, which reminds us that things are always different than they seem. We misunderstand context. We confuse shadowy representations for the things in and of themselves. We live in a shadowy, fictional world...[And yet there] is a belief that life is not less than what it seems, but more. We are limited by how we see ourselves, and once we shed those blinders the possibilities are endless. . . . ‘I am not interested in fooling people,’ DelGaudio tell us. ‘It’s about truth. To know illusions is to know reality’. . . . His deepest epiphany comes when he realizes that the game of duplicity that he’s running is being run on him. He is duping others, but he is also duping himself. Like Plato’s cave, nothing is as it seems.” —Errol Morris, The New York Times

“This is an absolutely thrilling and unique book. It’s a memoir with the page-turning excitement of a great mystery, and a delightful glimpse into the world of deception that is also a profound philosophical investigation. It is the luminously written, achingly vulnerable story of a human heart. A masterpiece.” —Oskar Eustis, Artistic Director of the Public Theater 

“A stunning work! Derek describes a time when he lived in the dangerous shadows of life; when he struggled, like many of us do, to unshackle himself from the perceptions that others had of him and that he had of himself. Beautifully written, we can feel Derek’s heart beating on every page as he tries to find his own truths.” —Frank Oz

“Derek DelGaudio’s AMORALMAN is such a rarity, a work of thoughtful, honest self-awareness that isn’t quite like anything I’d ever read before. . . . It’s a story of truth that is unafraid of untruth, which might sound contradictory, but when you delve into DelGaudio’s words, it makes perfect sense. This book is magic in multiple senses of the word. It is magic because it is narratively transportive, a book that sweeps the reader up into the world being created, pages crammed with vivid storytelling. But it is also magic in the performative sense, in that it is also about the art of stage magic, specifically sleight-of-hand. And it is magic in that it allows its author to reinvestigate his own history, to use the perspective of the present to change his view of the past—a transformation of both the man he is and the man he once was. . . . AMORALMAN is everything I want in a memoir, including a few things that I didn’t even know I wanted before I read it. It is among the most compelling works of autobiography that I’ve ever read.” —Allen Adams, The Maine Edge

“Delgaudio . . . re-confronts some of the key moments and incidents that shaped him and learns that he was not always the good man he believes himself to be today. Written in an open, self-appraising style, the book takes us through the author’s early, formative years, exploring the ways his early interest in (and later obsession with) the art of illusion defined the man he would become. He also delves deeply into his family: the father who disappeared when the author was a boy, the mother who kept secrets, the father-surrogate magic-store owner who introduced DelGaudio to the flimflam men who would become his role models. Any good memoir includes an element of self-discovery, but this one is all about self-discovery, and the truths unveiled are startling, unsettling, and—strangely, considering their nature—inspiring.” —David Pitt, Booklist
THE ORIGIN OF A LIE
 
Back in the late ’60s, on Long Island, a man named George discovered that the neighborhood hardware store he had managed for the last three years was actually owned by the Mob and they were using it to launder money. After making this discovery, George, a former naval officer, grew increasingly uncomfortable with his unintentional involvement in a criminal enterprise. When his employers started asking him to run errands, to take envelopes from here to there, he gave his two weeks’ notice. In response, his employers threatened him and his family. George packed the station wagon and fled to Los Angeles to start a new life with his wife, his two older daughters, and his new baby girl, Kim.
 
From the moment she was born, Kim knew only chaos. Her mother, George’s wife, was a cruel drunk whose shrill voice set the loud and violent tone for the household. Kim and her sis­ters hung out at the beach long after the sun went down, to avoid going home. Eventually their father, too, grew weary of his wife’s abuse. Kim never blamed him for leaving.
 
Rebelling against her mother, Kim became kind and reserved. She was a gangly girl with long hair bleached blond by the sun. By age sixteen, Kim towered above her peers at nearly six feet tall. Despite her imposing stature, she felt invisible. That’s what drew her to my father. Years later she told me, “He was the first boy who ever paid attention to me.”
 
They met in a small mountain town in California. Dad was a good-looking kid with dark hair and olive skin. He spotted Kim in the lobby of a ski lodge and struck up a conversation. They chatted for a bit, exchanged numbers, and a few weeks later they went on their first and only date.
 
Nine months later I was born.
 
My father was a rich kid from Beverly Hills. His parents didn’t approve of my mother. As far as they were concerned, she was a girl from the wrong side of the tracks, and they were not about to let one mistake destroy their son’s promising future.
 
I imagine my father, a college student, sitting on his bed. He’s staring at the phone and the weight of the world is on his shoulders. Downstairs his mother, normally a model of grace, is smoking a cigarette and frantically pacing. His father, a mattress mogul, who made millions selling overpriced beds to hospitals, is sitting in his favorite leather chair nursing a glass of scotch. They have just told my father to call my sixteen-year-old mother and tell her exactly what they discussed. My father rehearses his lines:
 
I have my whole life ahead of me. And while you are entitled to have the baby, I cannot allow your choice to ruin the rest of my life. So I’m calling to tell you I will have no part in the child’s life. This is the last time we will speak. Please do not contact me again.
 
I don’t know how long he sat there by the phone, but I’m certain making that call and saying those words to my sweet, young, confused, vulnerable mother was the most difficult thing my father ever had to do.
 
Or at least it would have been, had he called. But he didn’t. And while I’d like to think my father wanted to call, the truth is he couldn’t even find enough courage to be a coward. Instead, my mother heard through the grapevine that his parents had shipped him off to another state, far from her and her mistake.
 
My pregnant mother was living in a cramped apartment with her alcoholic mother, who survived solely on welfare and child support. My grandmother suggested her daughter, my mother, have an abortion. Considering the circumstances, that was arguably the most thoughtful advice my grandma had ever given her daughter.
 
By this time my mother’s father, George, had started a new family with his secretary-turned-wife. When Mom told George she was going to have a baby, he mustered up all the compassion he could to say, “You’ve ruined your life.” To this day, my mother has never heard him utter the words “I love you.”
 
After I was born, Mom’s priority was getting us out from under Grandma’s roof. A wise decision on her part. The few memories I have of my grandmother include the time she came home on the back of a motorcycle, holding a half-empty bottle of wine; the time her new “boyfriend” showed me his Hitler Youth knife; and her casual use of the N-word.
 
Mom dropped out of high school and got a job stocking shelves at a health-food store. Her two older sisters had their own apartments and we couch-surfed between them until Mom could afford a place of our own. She found an old laundry room that had been converted into living space. It was a single room with brick walls and a concrete floor. It had a toilet and a sink, but no kitchen.
 
We used a camping stove to cook our meals. Mom would clear an area on the floor and screw the gas can into the burner. I had the important job of making sure a gust of wind from out­side didn’t sneak by and blow the flame out before it reached the stove. I took great pride in my work.
 
One day my mother hesitated before striking the match. She asked me, “Do you want to know how this works?” After I nodded, she explained that the match was made out of various chemicals, and how striking the match on the box created fric­tion, which ignited the chemicals using the oxygen in the air as fuel. Somehow, my mother had gotten her GED and was going to school to become a firefighter.
 
We didn’t have much, but it felt like enough. I felt like enough. Then I watched another boy fly.
 
I was five, my mother was teaching me how to swim at a pub­lic pool. I wore floaties around my biceps and my mother held me on the surface of the water yelling, “Kick! Kick!”
 
In the center of the pool I saw a little boy standing on his father’s shoulders, while the mother cheered them on. The father and son counted to three. On three, the dad propelled the boy into the air. The boy rocketed into the sky, defying gravity, flying so high that he touched the clouds. Eventually the boy returned from the heavens, crashing into the water, and emerged with a smile as his mother and father laughed in delight.
 
We got out of the pool and, as Mom dried me off, I asked her, “Where’s my dad?”
 
“I don’t know, kiddo.”
 
Not long after, Mom started dating Ken, a man with broad shoulders and a caterpillar mustache. He took us camping. It was my first time outside of the city. I eagerly helped Ken set up the tent and collect firewood. He showed me how to bait a hook, and I sat next to him as he fished. Most kindergartners wouldn’t have sat so patiently for so long.
 
The next day, I became violently ill and our serene excursion came to an abrupt end. We packed up the car and drove back to the city, where my mother nursed me back to health in our tiny apartment. There wasn’t enough room for Ken, so he left. We never saw him again.
 
Later that year, when I was six years old, my mother moved us to a slightly larger apartment in the same building, on the second floor. It had a kitchen, so we didn’t have to cook our meals like campers. It also had a separate bedroom, which allowed for more privacy. I’d fall asleep on the bed. When my mother was ready to go to sleep, she’d make room for herself, picking me up and moving me to the cot next to the bed.
 
One night I was tossing and turning, trying to fall asleep, while my mother was in the living room. I was afraid of being alone in the dark, so she always left our bedroom door cracked, allowing in enough light to keep the boogeyman away. It was past my bedtime and I should’ve been sound asleep. But I was thirsty. So I got out of bed and crept toward the kitchen to get a cup of water.
 
I had expected to see my mother seated on the couch watching TV. What I did not expect was the stranger seated next to her. I just stood there in my Ninja Turtles pajamas, watching, trying to understand why my mother was passionately kissing another woman.
 
After a few seconds, my mother noticed me and bolted off the couch as if I were the parent interrupting her teenage make-out session. Flustered, she moved toward me, saying, “Hey, kiddo, is the TV too loud? What’s up?”
 
My eyes were transfixed on the boyish lady on the couch. She was a few years older than my mom, with a face full of freckles and a mullet. I remember staring at the image on her white T-shirt: two women standing in profile, one embracing the other from behind, both shirtless, their breasts concealed by their embrace. The women were looking over their shoulders, staring directly at me.
 
Earlier that year, my mother had already taught me the meaning of the word “gay.” I didn’t know it at the time, but she was arming me with the vocabulary I’d need for a difficult discussion.
 
I asked her, “Are you gay?”
 
She said, “Yes,” and I began to cry.
 
When she asked me why I was crying, I replied, “I don’t want you to be gay.”
 
She began to weep. I reached out to hug her and she pulled me onto her lap, where we cried together. After the tears subsided, my mother loosened her embrace and got me a glass of water. I took a long sip and stared down the lady near me on the couch.
 
The butch woman broke her silence, saying, “Hi! I’m Jill. Those are cool pajamas! Are those turtles?”
 
I explained, “The blue is Leonardo. Donatello is purple. Michelangelo is orange. Raphael is red and he’s my favorite.”
 
The three of us continued to make small talk. My mom cracked a few jokes, we had a few gentle laughs. Then my mother asked me if I was ready to go to bed. When I told her I was, she took me by the hand and I waved good night to the lady on the couch.
 
As Mom tucked me in, I asked, “When did you turn gay?”
 
She replied, “I’ve always been gay, I just didn’t know it.”
 
When my mother was four years old, all she wanted for her birthday was the Roy Rogers Cowboy Adventure Set. The box contained a six-shooter and holster, a silver deputy badge, a
cowboy hat, and spurs. Instead, her mother bought her the Dale Evans (Roy’s wife) cowgirl set. It had a pink vest, a sparkly hat, and a dainty lasso. Mom put on that costume and grew up feeling like she never took it off.
 
She spent the first two decades of her life believing she was straight. She didn’t choose to believe that fiction. It was inevi­table. Every depiction of life—every book, every TV show, the ads between the shows—her friends, even her family, told her that same exact story. How could she not believe the only thing she ever knew?
 
Then, when she was twenty-two, while training to become an EMT, she met a loving couple: Sheri and Sandra. Meeting these two women—seeing them living their authentic lives—unlocked a truth that had been buried deep within my mother. She recognized that she had mistaken role-playing for real life. No more pink vests or sparkly hats. She was done playing the part she was handed.
 
The moment she realized she had been living in the proverbial closet, she kicked the door down with a pair of steel-toed Doc Martens. She told her parents who she really was, choosing her freedom over their love. Then she hopped into a Jeep and drove off into the sunset, waving a pride flag, singing along with Melissa Etheridge.
 
She refused to live silently, shamefully, or fearfully in the shadow of a secret. With one small exception. She didn’t know how to tell her son, whom she loved more than life itself. When I stumbled in on her make-out session with Jill, I had unknowingly—and uncomprehendingly—relieved her of her last shred of secrecy.
 
Mom tucked me into bed that night and assured me, “Nothing has changed, sweetie. I still love you more than anything in the world.” Then, hoping I’d reassure her, she asked, “You know that, right?”
 
I knew she loved me, so I said, “Yes.” But everything had changed. When I said, “I love you, too,” her eyes welled with tears. Then she kissed me on my forehead and left the room. When she closed the door, I didn’t bother reminding her to leave it cracked. The moment the room went dark, I buried my face into my pillow and began to weep.
 
I wasn’t crying because she was gay. I was mourning the loss of the father I’d never have. I fell asleep knowing I’d never fly.
© Bryce Craig
Derek DelGaudio is a writer and performer, primarily known for his highly-acclaimed theater show, IN & OF ITSELF. He served as the Artist in Residence for Walt Disney Imagineering and cofounded the performance-art collective, A.BANDIT. Mr. DelGaudio lives in New York City. View titles by Derek DelGaudio

About

Here is a thought-provoking and brilliantly entertaining work of nonfiction from one of the world's leading deceivers, the creator and star of the astonishing theater show and forthcoming film In & Of Itself.

Derek DelGaudio believed he was a decent, honest man. But when irrefutable evidence to the contrary is found in an old journal, his memories are reawakened and Derek is forced to confront—and try to understand—his role in a significant act of deception from his past.  

Using his youthful notebook entries as a road map, Derek embarks on a soulful, often funny, sometimes dark journey, retracing the path that led him to a world populated by charlatans, card cheats, and con artists. As stories are peeled away and artifices are revealed, Derek examines the mystery behind his father's vanishing act, the secret he inherited from his mother, the obsession he developed with sleight-of-hand that shaped his future, and the affinity he felt for the professional swindlers who taught him how to deceive others. And once he finds himself working as a crooked dealer in a big-money Hollywood card game, Derek begins to question his own sense of morality, and discovers that even a master of deception can find himself trapped inside an illusion.

AMORALMAN is a wildly engaging exploration of the fictions we live as truths. It is ultimately a book about the lies we tell ourselves and the realities we manufacture in others.
 
ONE OF NPR’S BEST BOOKS OF THE YEAR

“Every magician is, or wishes they were, masters of secrecy and deception. But what if you are a magician who doesn't want to deceive? Derek DelGaudio has given us a story about how and where we find truth, and he takes us through some very dark places to get there. We learn how a nice young man became a professional card cheat in a most dangerous game, we learn about magic, and about the shadows in Plato's Cave, about illusion and reality, until we finally discover that the book in and of itself is a magic trick—one that holds out the hope that we can all learn to walk out of the deceptive and cavernous darkness and into the light.” —Neil Gaiman 

“The old hustler’s adage holds that ‘the game is sold, never told’—meaning that anything you learn will cost you. AMORALMAN is a riveting ledger of one man’s education, a parable about the lines between grifters and marks, a moral man and an amoral one. Buy this book—it’s cheaper than not buying it.” —Jelani Cobb

“A sublime enlightenment. A disappointment only in that it came to an end.” —Tom Hanks

“AMORALMAN now joins The Matrix in proving you can turn French philosophy into compelling entertainment.” —Elisabeth Vincentelli, The New York Times
 
“In a magic trick, the moment of revelation is essential: the spectators are amazed, not only because what they’re seeing defies explanation but because they should have seen it coming all along. The end of DelGaudio’s story has that effect, but instead of an ace of spades there’s a moral epiphany—an existential ta-da!” —Michael Schulman, The New Yorker

“A boy enthralled by magic becomes an accomplished swindler. . . . In his entertaining debut memoir, performer, artist, and magician DelGaudio recounts his transformation from a child who loved magic tricks to a professional card cheat immersed in a world of high-stakes grifters. . . . Throughout, he creates animated portraits of the many nasty characters he encountered and conveys a vivid sense of the greed and deception pervasive among gamblers, shills, and liars. . . . A lively tale of immersion in—and escape from—the underworld.” —Kirkus Reviews

“[A] masterly memoiristic account of lying and self-deception. . . . This is a story of unending ironies and misconceptions. That which we expected to be the truth is a lie, or at least a partial fiction. Anecdotes could be true, but falsely attributed. Intentions could be and are misrepresented or misunderstood. Good guys turn out to be bad guys and vice versa. And the purpose of magic and sleight-of-hand in such a universe? It goes back to Plato’s cave, which reminds us that things are always different than they seem. We misunderstand context. We confuse shadowy representations for the things in and of themselves. We live in a shadowy, fictional world...[And yet there] is a belief that life is not less than what it seems, but more. We are limited by how we see ourselves, and once we shed those blinders the possibilities are endless. . . . ‘I am not interested in fooling people,’ DelGaudio tell us. ‘It’s about truth. To know illusions is to know reality’. . . . His deepest epiphany comes when he realizes that the game of duplicity that he’s running is being run on him. He is duping others, but he is also duping himself. Like Plato’s cave, nothing is as it seems.” —Errol Morris, The New York Times

“This is an absolutely thrilling and unique book. It’s a memoir with the page-turning excitement of a great mystery, and a delightful glimpse into the world of deception that is also a profound philosophical investigation. It is the luminously written, achingly vulnerable story of a human heart. A masterpiece.” —Oskar Eustis, Artistic Director of the Public Theater 

“A stunning work! Derek describes a time when he lived in the dangerous shadows of life; when he struggled, like many of us do, to unshackle himself from the perceptions that others had of him and that he had of himself. Beautifully written, we can feel Derek’s heart beating on every page as he tries to find his own truths.” —Frank Oz

“Derek DelGaudio’s AMORALMAN is such a rarity, a work of thoughtful, honest self-awareness that isn’t quite like anything I’d ever read before. . . . It’s a story of truth that is unafraid of untruth, which might sound contradictory, but when you delve into DelGaudio’s words, it makes perfect sense. This book is magic in multiple senses of the word. It is magic because it is narratively transportive, a book that sweeps the reader up into the world being created, pages crammed with vivid storytelling. But it is also magic in the performative sense, in that it is also about the art of stage magic, specifically sleight-of-hand. And it is magic in that it allows its author to reinvestigate his own history, to use the perspective of the present to change his view of the past—a transformation of both the man he is and the man he once was. . . . AMORALMAN is everything I want in a memoir, including a few things that I didn’t even know I wanted before I read it. It is among the most compelling works of autobiography that I’ve ever read.” —Allen Adams, The Maine Edge

“Delgaudio . . . re-confronts some of the key moments and incidents that shaped him and learns that he was not always the good man he believes himself to be today. Written in an open, self-appraising style, the book takes us through the author’s early, formative years, exploring the ways his early interest in (and later obsession with) the art of illusion defined the man he would become. He also delves deeply into his family: the father who disappeared when the author was a boy, the mother who kept secrets, the father-surrogate magic-store owner who introduced DelGaudio to the flimflam men who would become his role models. Any good memoir includes an element of self-discovery, but this one is all about self-discovery, and the truths unveiled are startling, unsettling, and—strangely, considering their nature—inspiring.” —David Pitt, Booklist

Excerpt

THE ORIGIN OF A LIE
 
Back in the late ’60s, on Long Island, a man named George discovered that the neighborhood hardware store he had managed for the last three years was actually owned by the Mob and they were using it to launder money. After making this discovery, George, a former naval officer, grew increasingly uncomfortable with his unintentional involvement in a criminal enterprise. When his employers started asking him to run errands, to take envelopes from here to there, he gave his two weeks’ notice. In response, his employers threatened him and his family. George packed the station wagon and fled to Los Angeles to start a new life with his wife, his two older daughters, and his new baby girl, Kim.
 
From the moment she was born, Kim knew only chaos. Her mother, George’s wife, was a cruel drunk whose shrill voice set the loud and violent tone for the household. Kim and her sis­ters hung out at the beach long after the sun went down, to avoid going home. Eventually their father, too, grew weary of his wife’s abuse. Kim never blamed him for leaving.
 
Rebelling against her mother, Kim became kind and reserved. She was a gangly girl with long hair bleached blond by the sun. By age sixteen, Kim towered above her peers at nearly six feet tall. Despite her imposing stature, she felt invisible. That’s what drew her to my father. Years later she told me, “He was the first boy who ever paid attention to me.”
 
They met in a small mountain town in California. Dad was a good-looking kid with dark hair and olive skin. He spotted Kim in the lobby of a ski lodge and struck up a conversation. They chatted for a bit, exchanged numbers, and a few weeks later they went on their first and only date.
 
Nine months later I was born.
 
My father was a rich kid from Beverly Hills. His parents didn’t approve of my mother. As far as they were concerned, she was a girl from the wrong side of the tracks, and they were not about to let one mistake destroy their son’s promising future.
 
I imagine my father, a college student, sitting on his bed. He’s staring at the phone and the weight of the world is on his shoulders. Downstairs his mother, normally a model of grace, is smoking a cigarette and frantically pacing. His father, a mattress mogul, who made millions selling overpriced beds to hospitals, is sitting in his favorite leather chair nursing a glass of scotch. They have just told my father to call my sixteen-year-old mother and tell her exactly what they discussed. My father rehearses his lines:
 
I have my whole life ahead of me. And while you are entitled to have the baby, I cannot allow your choice to ruin the rest of my life. So I’m calling to tell you I will have no part in the child’s life. This is the last time we will speak. Please do not contact me again.
 
I don’t know how long he sat there by the phone, but I’m certain making that call and saying those words to my sweet, young, confused, vulnerable mother was the most difficult thing my father ever had to do.
 
Or at least it would have been, had he called. But he didn’t. And while I’d like to think my father wanted to call, the truth is he couldn’t even find enough courage to be a coward. Instead, my mother heard through the grapevine that his parents had shipped him off to another state, far from her and her mistake.
 
My pregnant mother was living in a cramped apartment with her alcoholic mother, who survived solely on welfare and child support. My grandmother suggested her daughter, my mother, have an abortion. Considering the circumstances, that was arguably the most thoughtful advice my grandma had ever given her daughter.
 
By this time my mother’s father, George, had started a new family with his secretary-turned-wife. When Mom told George she was going to have a baby, he mustered up all the compassion he could to say, “You’ve ruined your life.” To this day, my mother has never heard him utter the words “I love you.”
 
After I was born, Mom’s priority was getting us out from under Grandma’s roof. A wise decision on her part. The few memories I have of my grandmother include the time she came home on the back of a motorcycle, holding a half-empty bottle of wine; the time her new “boyfriend” showed me his Hitler Youth knife; and her casual use of the N-word.
 
Mom dropped out of high school and got a job stocking shelves at a health-food store. Her two older sisters had their own apartments and we couch-surfed between them until Mom could afford a place of our own. She found an old laundry room that had been converted into living space. It was a single room with brick walls and a concrete floor. It had a toilet and a sink, but no kitchen.
 
We used a camping stove to cook our meals. Mom would clear an area on the floor and screw the gas can into the burner. I had the important job of making sure a gust of wind from out­side didn’t sneak by and blow the flame out before it reached the stove. I took great pride in my work.
 
One day my mother hesitated before striking the match. She asked me, “Do you want to know how this works?” After I nodded, she explained that the match was made out of various chemicals, and how striking the match on the box created fric­tion, which ignited the chemicals using the oxygen in the air as fuel. Somehow, my mother had gotten her GED and was going to school to become a firefighter.
 
We didn’t have much, but it felt like enough. I felt like enough. Then I watched another boy fly.
 
I was five, my mother was teaching me how to swim at a pub­lic pool. I wore floaties around my biceps and my mother held me on the surface of the water yelling, “Kick! Kick!”
 
In the center of the pool I saw a little boy standing on his father’s shoulders, while the mother cheered them on. The father and son counted to three. On three, the dad propelled the boy into the air. The boy rocketed into the sky, defying gravity, flying so high that he touched the clouds. Eventually the boy returned from the heavens, crashing into the water, and emerged with a smile as his mother and father laughed in delight.
 
We got out of the pool and, as Mom dried me off, I asked her, “Where’s my dad?”
 
“I don’t know, kiddo.”
 
Not long after, Mom started dating Ken, a man with broad shoulders and a caterpillar mustache. He took us camping. It was my first time outside of the city. I eagerly helped Ken set up the tent and collect firewood. He showed me how to bait a hook, and I sat next to him as he fished. Most kindergartners wouldn’t have sat so patiently for so long.
 
The next day, I became violently ill and our serene excursion came to an abrupt end. We packed up the car and drove back to the city, where my mother nursed me back to health in our tiny apartment. There wasn’t enough room for Ken, so he left. We never saw him again.
 
Later that year, when I was six years old, my mother moved us to a slightly larger apartment in the same building, on the second floor. It had a kitchen, so we didn’t have to cook our meals like campers. It also had a separate bedroom, which allowed for more privacy. I’d fall asleep on the bed. When my mother was ready to go to sleep, she’d make room for herself, picking me up and moving me to the cot next to the bed.
 
One night I was tossing and turning, trying to fall asleep, while my mother was in the living room. I was afraid of being alone in the dark, so she always left our bedroom door cracked, allowing in enough light to keep the boogeyman away. It was past my bedtime and I should’ve been sound asleep. But I was thirsty. So I got out of bed and crept toward the kitchen to get a cup of water.
 
I had expected to see my mother seated on the couch watching TV. What I did not expect was the stranger seated next to her. I just stood there in my Ninja Turtles pajamas, watching, trying to understand why my mother was passionately kissing another woman.
 
After a few seconds, my mother noticed me and bolted off the couch as if I were the parent interrupting her teenage make-out session. Flustered, she moved toward me, saying, “Hey, kiddo, is the TV too loud? What’s up?”
 
My eyes were transfixed on the boyish lady on the couch. She was a few years older than my mom, with a face full of freckles and a mullet. I remember staring at the image on her white T-shirt: two women standing in profile, one embracing the other from behind, both shirtless, their breasts concealed by their embrace. The women were looking over their shoulders, staring directly at me.
 
Earlier that year, my mother had already taught me the meaning of the word “gay.” I didn’t know it at the time, but she was arming me with the vocabulary I’d need for a difficult discussion.
 
I asked her, “Are you gay?”
 
She said, “Yes,” and I began to cry.
 
When she asked me why I was crying, I replied, “I don’t want you to be gay.”
 
She began to weep. I reached out to hug her and she pulled me onto her lap, where we cried together. After the tears subsided, my mother loosened her embrace and got me a glass of water. I took a long sip and stared down the lady near me on the couch.
 
The butch woman broke her silence, saying, “Hi! I’m Jill. Those are cool pajamas! Are those turtles?”
 
I explained, “The blue is Leonardo. Donatello is purple. Michelangelo is orange. Raphael is red and he’s my favorite.”
 
The three of us continued to make small talk. My mom cracked a few jokes, we had a few gentle laughs. Then my mother asked me if I was ready to go to bed. When I told her I was, she took me by the hand and I waved good night to the lady on the couch.
 
As Mom tucked me in, I asked, “When did you turn gay?”
 
She replied, “I’ve always been gay, I just didn’t know it.”
 
When my mother was four years old, all she wanted for her birthday was the Roy Rogers Cowboy Adventure Set. The box contained a six-shooter and holster, a silver deputy badge, a
cowboy hat, and spurs. Instead, her mother bought her the Dale Evans (Roy’s wife) cowgirl set. It had a pink vest, a sparkly hat, and a dainty lasso. Mom put on that costume and grew up feeling like she never took it off.
 
She spent the first two decades of her life believing she was straight. She didn’t choose to believe that fiction. It was inevi­table. Every depiction of life—every book, every TV show, the ads between the shows—her friends, even her family, told her that same exact story. How could she not believe the only thing she ever knew?
 
Then, when she was twenty-two, while training to become an EMT, she met a loving couple: Sheri and Sandra. Meeting these two women—seeing them living their authentic lives—unlocked a truth that had been buried deep within my mother. She recognized that she had mistaken role-playing for real life. No more pink vests or sparkly hats. She was done playing the part she was handed.
 
The moment she realized she had been living in the proverbial closet, she kicked the door down with a pair of steel-toed Doc Martens. She told her parents who she really was, choosing her freedom over their love. Then she hopped into a Jeep and drove off into the sunset, waving a pride flag, singing along with Melissa Etheridge.
 
She refused to live silently, shamefully, or fearfully in the shadow of a secret. With one small exception. She didn’t know how to tell her son, whom she loved more than life itself. When I stumbled in on her make-out session with Jill, I had unknowingly—and uncomprehendingly—relieved her of her last shred of secrecy.
 
Mom tucked me into bed that night and assured me, “Nothing has changed, sweetie. I still love you more than anything in the world.” Then, hoping I’d reassure her, she asked, “You know that, right?”
 
I knew she loved me, so I said, “Yes.” But everything had changed. When I said, “I love you, too,” her eyes welled with tears. Then she kissed me on my forehead and left the room. When she closed the door, I didn’t bother reminding her to leave it cracked. The moment the room went dark, I buried my face into my pillow and began to weep.
 
I wasn’t crying because she was gay. I was mourning the loss of the father I’d never have. I fell asleep knowing I’d never fly.

Author

© Bryce Craig
Derek DelGaudio is a writer and performer, primarily known for his highly-acclaimed theater show, IN & OF ITSELF. He served as the Artist in Residence for Walt Disney Imagineering and cofounded the performance-art collective, A.BANDIT. Mr. DelGaudio lives in New York City. View titles by Derek DelGaudio