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Vacationing in San Francisco for the first time, Mary Ann places a long-distance call to her mother to tell her that she is not coming home. Despite being in the city for only five days, it already “‘feels like home’” to Mary Ann (9). Mary Ann’s mother tries to persuade her to come home and begins to cry. Mary Ann remains resolute, ends the call, and then asks an old friend, Connie, if she can stay in her apartment.
Mary Ann drags her suitcase to Connie’s apartment, and they share a drink together. Connie is a stewardess, and her home is filled with kitschy bric-a-brac. They reminisce over an old yearbook, which includes an airbrushed photograph of Mary Ann with a caption that proclaims her membership in the “Future Homemakers of America” (12). Connie had been much more popular than Mary Ann. They discuss social opportunities in the city, and Connie shows off a magazine article about orgies. They eat dinner and then Mary Ann naps. She wakes up from a nightmare about her home life, splashes water on her face, and discovers a collection of men’s aftershave in Connie’s bathroom.
Mary Ann and Connie visit a nightclub called “Dance Your Ass Off” (14). Connie chides Mary Ann for not being able to “‘deal with [her] own sexuality’” (14). Mary Ann stays put with her drink while Connie dances. Shortly after Connie leaves, a man sits down next to Mary Ann, and they begin to chat about star signs. The man reads her palm; Mary Ann quickly leaves him behind and searches for Connie. Mary Ann departs the disco early, watches television, and then sleeps. Connie arrives home two hours later and is not alone: her guest is the man who read Mary Ann’s palm.
Mary Ann slips out of the apartment early to find herself a place to rent. She eats pancakes and visits a rental agency that presents her with three options. The first two are unsuitable; Mary Ann investigates the third and “liked it instantly” (17). The landlord, Mrs. Madrigal, wears a plum kimono and quotes poetry. Mary Ann takes the apartment. She phones Connie from the street, apologizing for departing early. They agree to meet later and settle on a trip to “Social Safeway,” the supermarket.
Mary Ann and Connie arrive at Safeway to find a social event in full swing. As Mary Ann shops, she is harassed by a “puffy-faced man of about thirty-five” (19) who eventually shouts for her to “‘get off the rag, bitch’” (19) when Mary Ann turns down his advances. While shedding a tear on a package of Sara Lee brownies, she meets a man named Robert and then his roommate, Michael. Though she is attracted to Robert, she extricates herself from the situation and decides to walk home alone.
Mary Ann eats dinner in front of the television and then falls asleep. She wakes up in the morning to find an annoyed Connie entering the house. They drink coffee as Connie complains about the previous night: she had seen a man she had previously dated, and Connie was “‘mortified’” (23) when he did not recognize her. After the man walked out, Connie went home with his unremarkable friend as a point of principle, and the pair argued about environmentalism. Mary Ann moves out, and Connie is “visibly depressed” (24).
Mary Ann searches for a job. Her horoscope promises an auspicious day. Visiting a job agency, she fills out a form and is given a lead on a potential job. The interview ends badly, as the “red-faced” (26) Mr. Creech is dismayed to hear Mary Ann admit that she is “‘uptight’” (26). Mary Ann goes home to her new apartment and cries. The next morning, she finds a gift from Mrs. Madrigal outside her door: “a neatly rolled joint” (27).
Mary Ann meets Mona, one of her new neighbors. Mrs. Madrigal has already told people of Mary Ann’s arrival. Mary Ann and Mona discuss the joint—Mrs. Madrigal grows marijuana in the garden—and then drink ginseng tea together. Mary Ann is irked that Mrs. Madrigal seems to have told the neighbors everything about her. Mona’s employer needs a secretary, and Mary Ann is given an interview. She makes the interviewer, Edgar, laugh. The next day, she starts working for the “‘biggest son-of-a-bitch in town’” (29). Arriving home, Mary Ann thanks Mrs. Madrigal for the joint.
Mary Ann does not particularly like her new job. However, she has grown fond of Beauchamp, who is Edgar’s son-in-law and an account executive. He is often late, but Mary Ann “liked him for his irresponsibility” (31). Beauchamp’s wife, DeDe, is less interesting, and Mary Ann considers her somewhat ridiculous. Beauchamp invites Mary Ann to lunch.
Edgar demands answers from Beauchamp about his whereabouts the previous night. DeDe had called her father, crying. Beauchamp tries to avoid the question before admitting that he was at a “‘committee meeting at the club’” (33). The meeting ends acrimoniously.
Mary Ann visits the Royal Exchange with Mona, who is the office’s “resident freak” (34). Mona took mescaline the previous night and is “‘spaced’” (34). Mary Ann is invited to Mrs. Madrigal’s home for dinner; Mona suggests this means Mrs. Madrigal trusts Mary Ann. Mona slips out of work early to warn Mrs. Madrigal that Mary Ann has been asking about her.
Edgar drinks scotch alone at the Bohemian Club. He phones home and admits that he will not be able to make dinner as he has a “‘committee meeting’” (36). His wife does not take the news well, and Edgar hangs up angrily. He calls a woman named Ruby Miller and arranges for them to meet that night. At a different club, Beauchamp admits that Edgar’s behavior is making him paranoid. He jokes with a friend about various social promiscuities.
Beauchamp arrives home late. He and DeDe are to attend a party in half an hour. Beauchamp accuses Edgar’s “‘darling daughter’” (39) of ringing her father to complain about her husband’s behavior. They bicker before Beauchamp apologizes, claiming that he’s tired. DeDe accuses Beauchamp of enjoying “‘after-work amusement’” (40) with Mary Ann, though he denies it. As the accusations continue, Beauchamp storms out of the house.
The opening chapters of the novel slowly introduce the reader to Maupin’s San Francisco, using Mary Ann Singleton as a lens through which to glimpse the uncommon and fascinating city. Just like Mary Ann, the reader is seeing this version of San Francisco “for the first time” (9). Preconceptions about the city and its reputation are cast aside immediately; the book is not necessarily a realist portrayal of life in the city, but is rather a hyper-accentuated account of how the glamour, notoriety, progressive values, and ebbing watermark of the post-hippie age manifest in an urban environment. Even for readers familiar with the actual San Francisco, Mary Ann’s innocence and wonder are a sympathetic emotional response to the complicated urban setting.
As the characters are introduced, they are usually markedly different from Mary Ann. While Mary Ann’s first action is to call home and fulfill her responsibilities (e.g., letting her boss know that she will not be available; letting her parents know about her plans), the other characters are more impulsive and less burdened by social expectations. Connie, for example, is introduced first by phone and then in person. Her language is markedly different from Mary Ann’s own, even though they are from the same town. When hearing about the phone call, Connie laughs and says that Mary Ann’s mother “‘freaked’” (11) before gently mocking Mary Ann for being uptight and inhibited. Magazine articles about orgies are found in Connie’s apartment and function as a portion of the steady reveal of the heightened sexual reality that Mary Ann will find in the city. The subject matters of the magazines will eventually become real, tangible scenes, robbed of the level of abstraction as Mary Ann’s inhibitions slowly seep away.
In addition to introducing Mary Ann, the city, and the characters, the opening chapters also serve to introduce the novel’s structure and aesthetic: chapters arrive in short sharp bursts, usually consisting of one or two scenes; the prose is dialogue-heavy with characters bantering back and forth with ease; and the mise-en-scène is littered with ironic clutter and kitsch, cheap objects that build up the objective correlative of the post-1960s American psyche of consumerism and disposable income. There is a focus on the objects characters have in their homes or offices; for example, Mona has “an assortment of hookah pipes, […] an antique wheelchair” (34) and other, random clutter in her office. The objects are not necessarily to be used, but to show potential clients that a commodified version of the 1960s experience is available to hire. The objects in Mona’s office, as well as the homes of the characters, reveal the commodified, heavily consumer-orientated nature of life in 1970s America.
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