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• 1 2016-03-02T16:57:28-08:00 Chapter 13 30 Last page of the novel plain 2016-03-15T15:55:36-07:00
  
  A closer look at Malamud's editing process:

  He secretly touched his coat pocket. Inside was a letter of recommendation “if you should need it” from Joe Bucket. 

  She rested her head on his shoulder. “Have faith in me. Trust me darling. I’ll make you a good wife., Lev, better than I was to Howard.” 

  “God bless you Pauline.” 

  Her body smelled like fresh-baked bread, the bread of flowers. 

  “Wear these.” He gave her the gold hoop earrings he had kept for her. 

  She fastened them on her ears. “God bless you, Lev.” 

  “Sam, they used to every body called me home.” 

  “God bless you, Sam.” 

  They drove past the red brick buildings, toward Humanities Hall. The maple tree in front was being Two tin-hatted workmen with chain saws were in the maple tree cutting it down limb by limb by a workman with an electric chain saws, to make room for a heat tunnel. Across the street On the Student Union side of the street, Howard Gilley was about to take a picture of the aiming a camera at the operation. When he caught sight of saw Levin’s Hudson Ford he aimed swung the camera around and snapped. As they passed drove by he tore something white a rectangle of paper from the back of the camera and waved it at them aloft. 

  “Got your picture!” 

  “Bye bye, Daddy,” Eric waved. 

  The car went on. 
       In the rearview mirror Gilley wept.
   

   

  Sample Analysis:
  
  In the final scene of the novel, the most significant difference between the two editions is the absence of the final three lines that give the reader insight into Gilley's reaction to the departure of his wife and children. The removal of these lines creates a sense of greater ambiguity and diminishing Gilley's efficacy to draw reader sympathy. In the published version, the final line is "Got your picture!" Without the context of Gilley's emotional reaction, this can be interpreted in a few different ways. In one sense, it leaves a threat hanging in the air when readers recall how much power Gilley wielded with the prior photograph of Pauline and Duffy. Keeping the ultimate consequences of that affair in mind, the line implies that Gilley may still wield some degree of power that may influence events outside the scope of the novel. Conversely, because this suggestion cannot leave the realm of speculation, the final scene serves to exemplify Gilley's diminished authority. He has captured their image, but it doesn't change the fact that they are driving away. Gilley’s direct emotional reaction in the manuscript reinforces this, but Gilley's weeping also draws reader sympathies away from Levin and leads to a more ambivalent conclusion to the novel, wherein no one truly succeeds. This becomes especially relevant when one considers Levin's feelings of imprisonment, which are also absent from the published novel. Additionally, the fact that it is his son that elicits this emotional reaction subverts Levin's assertion that Gilley is merely using his children as a way to extract revenge. Leaving Gilley's reaction with a greater degree of ambiguity helps solidify Levin's character growth and gives readers a sense that he is truly embarking on a journey toward a new life. This is further supported by the addition of the line, ""her body smelled like fresh-baked bread, the bread of flowers," which suggests a blossoming of Pauline's character as well as a reference to the baby that promises a new life for them both.  

  Subtle differences in the interaction between Pauline and Levin reveal a slight shift in dynamics. In both versions, Pauline makes the same promise: "I'll make you a good wife," but in the manuscript, she says "have faith in me" and further promises that she will be better to Levin than she was to Gilley (whose name is Howard in the original manuscript), but in the published version, she merely says, "trust me." The first shift, from faith to trust, follows the broader trend on Malamud's part to remove many of the discussions about faith and morality throughout the revision. It is difficult to be sure where the motivation for this removal comes from, but it does suggest that Malamud found it was not important to have direct references to Levin's faith as part of his character growth. On Pauline's part, Malamud puts more emphasis on the future by removing Pauline's reference to her former marriage. 

  Overall, the revision of this final page reflects a more complex conclusion and a more ambiguous shift in power between Gilley and Levin as well as an increased sense of hope for Pauline and Levin.