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Before leaving for France, Sedaris enrolls in a month-long French class in New York City that requires him to study French using an audiocassette tape that accompanies his textbook. The tape’s content is very clean and non-controversial, centering around three fictional characters engaged in stock conversation. Sedaris realizes eventually that none of the phrases he learned from the tape would help him in French conversation. Being older, he has acquired life experiences that are not as innocent as the conversations on the tape.
As he has already grown accustomed to using a Walkman to listen to these tapes, he begins listening to English books on tape in France. He attempts at some point to listen to French books on tape, an effort that is short-lived when it proves to be too hard. When he’s about to give up, he receives a care package from Amy that consists of a pocket French medical dictionary of medical terms that satiate Sedaris’s conversational interest in medical oddities. He also receives an audio walking tour tape that he can listen to while exploring France. With these gifts, he engages in a fantasy life where he imagines himself to be fluent enough in French to have a conversation with others about medical habits.
Sedaris names two types of French non-native speakers—those who speak the “Easy Kind” and those who speak the “Hard Kind.” The former refuses to learn French and gets by in France by shouting in American English, a behavior he unfavorably critiques. He identifies as part of the latter group whose attempts to speak French are overrun by grammatically incorrect words and phrases.
One of Sedaris’s biggest struggles with French is the gendering of nouns as masculine and feminine, which he argues does not usually follow a gender normative logic. He struggles to understand why a chicken or a vagina is masculine, for example. It reminds him of his childhood games with his siblings where they would act out dramas by animating their food, gendering them based on the characters they take on.
Realizing that using nouns in plural form evade gendering, Sedaris begins to use plurals for all French nouns, much to Hugh’s annoyance. Hugh is outraged when Sedaris returns home from the market one day with four pounds of tomatoes. Hugh suggests that Sedaris not go to the market alone for fear that he will once again overuse plurals to buy more than one item of what they need. Sedaris concludes by saying that he is sure Hugh will eventually get used to it; if his use of plurals persists, he will likely get Hugh more than one CD player for his birthday.
Hugh’s memories of his youth seem far more interesting and adventurous than Sedaris’s suburban North Carolina upbringing. As Hugh’s father was a career officer for the U.S. State Department, Hugh was accustomed to having to move frequently as a youth, living at various times in the Congo, Ethiopia, and other countries in Africa. While Hugh relays some unpleasant memories of his transient youth, such as encountering a hung man at his local theater in Ethiopia or being evacuated from a teen club by soldiers, Sedaris is still envious of Hugh’s childhood. Hugh reveals that at one point in his high school life, his parents moved to Somalia, leaving their son behind in Ethiopia as there were no English-language schools for Hugh. During this time, Hugh lived with a family friend who treated him like a stranger. As a result, he grew accustomed to never mentioning his birthday to anyone. Hugh had to negotiate his stay in Ethiopia with a guidance counselor when his surrogate family considered moving to Germany. While the narrative of such a lonely upbringing would typically conjure sympathy, Sedaris can only display further envy. In contrast to Hugh, Sedaris’s childhood consists of more mundane markers of American suburban life, such as eating hush puppies in Morehead City. He decides to imagine his life with Hugh’s memories, fantasizing about visiting Ethiopian slaughterhouses and greeting his pet monkey.
One of the recurring themes across these chapters is the role of fantasy. As in previous chapters, Sedaris’s narrative voice and recollections of his past often highlight his imagination for comedic effect. His fantasies allow him to participate more actively in his life in France, as is the case in chapter 17. His earlier uses of books on tape allow him to depart from French reality, which he says, “all I had to do was remove my headphones and participate in what is known as ‘real life,’ a concept as uninviting as shrimp cocktail” (184). “Real life” is unappealing to Sedaris, but when he is gifted a pocket dictionary of medical terms and a walking audio tour cassette, he is inspired to participate in real life in a way that suits his unique interests and imagination.
Chapter 18 offers background into Sedaris’s rich imagination. His struggle with French pronouns reminds him of games he would play in his youth where gender was a source of play rather than fixed grammar. He recalls how he and his siblings would act out plays with their food where “Sexes were assigned at our discretion and were subject to change from one night to the next” (189). This game of pretend sets the stage for Sedaris’s capacity for elaborate fantasies in his adulthood, particularly his playful relationship to language and imagination.
Sedaris also utilizes fantasy as a tool to revise his childhood memories in chapter 19. Dissatisfied with the mundanity of his suburban American upbringing, he engages in a fantastical narration of his childhood, reimagined through his partner’s memories. Sedaris writes, “His stories, over time, become my own,” describing this narration as the act of a “petty thief” (198).
The title of chapter 17, “The Tapeworm Is In” refers to a pun that Sedaris makes regarding his obsession with English audiocassette tapes. In the chapter, he says, “If a person who reads is labeled a bookworm, then I was suddenly becoming what might be called a tapeworm” (184).
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By David Sedaris