Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 2001. [Vol. 7.] Eger Journal of American Studies.(Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 27)

Studies - András Tarnóc: Entropy and Ecstasy: The Dynamics of Human Relationship in Bernard Slade's Same Time Next Year

the second is the guilt attack brought on by his absence during his daughter Debbie's loss of her baby tooth, and the third one is his announcement of Michael's death. George's declaration of his eternal love for Doris reaffirms his identity as a lover. This is in straight contrast with the admission of his temporary impotence in Scene 3 of Act One. The anxiety over his inability to perform sexually is countered by the reaffirmation of his male or lover's identity. Consequently, since most of George's confessions are relevant to fatherhood, it can be concluded that his greatest worry concerning the affair is the potential undermining of his ability and status as a father. The confession at the end of Scene 2 Act Two is a unique one. The confession technically could be regarded as Doris', but it is delivered by George for Harry, Doris' husband. In fact this indirect confession is the climax of the play. By this time George's guilt level reached its zenith, the relationship lasting over 20 years achieved maturity, and his need to succumb to long-stifled impulses of honesty is overwhelming. Whereas the confession starts ambiguously implying a routine admission of adultery and cheating, the real confessor is not George, but Doris. George confesses Doris's love for Harry and realizes the lack of communication between the two, and attempts to break up the entropy by revealing Doris's true feelings for Harry. Furthermore, during the confession George assumes the identity of a priest, in itself a bizarre turn of events, reversing the order of confessing between priest and parishioner. The relatively lower frequency of Doris' confessions is partially explained by the fact that she is not tortured by guilt to the same extent as George is. Her confessions also revolve around the roles society assigns to women: mother, wife, homemaker, and career woman. In Scene 1 of Act One she asserts emphatically: Well, look at my life. I got three little kids underfoot all the time, so I'm never alone. I live in a two-bedroom duplex in downtown Oakland, we got a 1948 Kaiser that's almost paid for, a blond, threepiece dinette set, a Motorola TV, and we go bowling at least once a week...I mean, what else could anyone ask for? (251) The first part of her confession asserts her role as a mother, the description of her home, the equipment, and the appliances are 70