some details about her previous life before meeting Teddy and how she views America (pp. 68–69). After Max and his brother, Sam, exit, Teddy abruptly suggests to Ruth that they return home immediately (p. 70). Apparently, he knows about her past history as "a photographic model for the body" (p. 73) and about which she reminisces when talking to Lenny alone after Teddy has gone upstairs "to pack" for their return trip to the United States. When he returns with the suitcases and Ruth's coat, he expresses concern about what else Lenny may have gotten Ruth to reveal. As Teddy looks on, Lenny initiates dancing "slowly" with Ruth (p. 74). With Teddy, Max, and Joey all looking on, Lenny kisses Ruth and then turns her over to Joey, who asserts that "she's wide open"; "Old Lenny's got a tart in here" (p. 74). Joey begins making out with Ruth on the sofa, telling Lenny that she is "Just up my street" (p. 75). Max asks Teddy if he is "going" so soon. He tells Teddy, "Look, next time you come over, don't forget to let us know beforehand whether you're married or not. I'll always be glad to meet the wife." He says that he knows that Teddy had not told him that he was married because he was "ashamed" that he had "married a woman beneath him" (p. 75), just before peering to look at Ruth, who is literally still lying "under" Joey. Max adds that Teddy doesn't need to be "ashamed" of Ruth's social status, assuring Teddy that he is a "broadminded man" (75), and "she's a lovely girl. A beautiful woman", as well as "a mother too. A mother of three." Contrary to the concurrent action, even more ironically, Max observes that Teddy has "made a happy woman out of her. It's something to be proud of"; right after Max further asserts that Ruth is "a woman of quality" and "a woman of feeling", clasped in their ongoing embrace, Joey and Ruth literally "roll off the sofa on to the floor" (p. 76). Suddenly pushing Joey away and standing up, Ruth appears to take command, demanding food and drink, and Joey and Lenny attempt to satisfy her demands (pp. 76–77). After Ruth questions whether or not his family has read Teddy's "critical works" — a seemingly absurdist non sequitur -- or perhaps just a jibe at her