As Howard Taubman outlines the play: At the outset Quentin emerges, moves forward and seats himself on the edge of the stage and begins to talk, like a man confiding in a friend. In the background are key figures in his life, and they move in and out of his narrative. The narration shades into scenes, little and big. They are revelations and illuminations. They remind Quentin of an awkward young girl whom he made proud of herself. They bring the tortured image of his mother’s death and another of his mother’s fury with his father, who lost all in trying to save a floundering business. They crisscross through his relations with a number of women, the first wife who wanted to be a separate person, the second who drove him into a separateness and a possible third who knew, as a German raised in a furnace of concentration camps, that ‘survival can be hard to bear.’