Joseph McElroy - Women and Men

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Women and Men: краткое содержание, описание и аннотация

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Beginning in childbirth and entered like a multiple dwelling in motion, Women and Men embraces and anatomizes the 1970s in New Yorkfrom experiments in the chaotic relations between the sexes to the flux of the city itself. Yet through an intricate overlay of scenes, voices, fact, and myth, this expanding fiction finds its way also across continents and into earlier and future times and indeed the Earth, to reveal connections between the most disparate lives and systems of feeling and power. At its breathing heart, it plots the fuguelike and fieldlike densities of late-twentieth-century life.
McElroy rests a global vision on two people, apartment-house neighbors who never quite meet. Except, that is, in the population of others whose histories cross theirsbelievers and skeptics; lovers, friends, and hermits; children, parents, grandparents, avatars, and, apparently, angels. For Women and Men shows how the families through which we pass let one person's experience belong to that of many, so that we throw light on each other as if these kinships were refracted lives so real as to be reincarnate.
A mirror of manners, the book is also a meditation on the languagesrich, ludicrous, exact, and also Americanin which we try to grasp the world we're in. Along the kindred axes of separation and intimacy Women and Men extends the great line of twentieth-century innovative fiction.

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I mean I don’t mean how to put a new clutch in a beat-up old city bus, which he can do but I don’t want to talk about it — and about the crazed Hispanic off-islanders now attending big-league baseball games in our shared city (the Jews are better at picking up Spanish, he says, and he’s right, than the Irish — all of which explains how well I know the distance between that school and my second home, my girl’s).

And she was my beautiful, wise girl who took individualized driver training from me and was my girl from junior high until I left and later so did she, my future, though didn’t leave the tenement itself with a row of galvanized cans her intensely white-haired father the super — Jewish — get all info into lead! — kept always in their place so random Venusian descending via sun-fueled greenhouse-ship saw, through the deteriorating cement of the building’s brick, a sometime vacant "railroad" we might make better use of for an hour and a half, he saw his cans there on the sidewalk as field batteries, standing reserve, ammo. Accessories in my head long after the fact. I can feel for him, Jim, right down to the red nick on his jaw twice a week, and I am thirty and counting, and — as my esteemed substitute teacher once pointed out it would be painfully different for a childless female long-term con — wonder if I will have a daughter to protect, or just have one. You knew something because you said after me She is your future, getting it straight (your only child?).

So you can see where I am coming from. Neither of us dark to the other as I guess you’ve thought, driving up here or then with that one hard kernel of corn between your fingers looking at it and then Juan and back to that tooth of corn — do you have it, still, do you know where you can lay your hand on it?

And where is this here intrinsic continuum of message being (smile) devoured, by the way? In your hand? Your head? growing in your ear? Does it raise a blister in your fingerprint? Does it make you mad? Or, more like, make real the billions of millimeters between mind particles each with one interface exactly met by the other, and if you cheat the world’s jailed jailer of its substitutes, maybe you see further than you’ve a right to. If you go in for rights, I don’t, I go beyond.

But if the future is bent on some path, the latest in communications out of an electronic suitcase you mentioned that might go off or speak in words of two syllables, linking Vermont, New Mexico, Chile, and this prison-redoubt where I send out myself honeycombed with light, where I have transcended the passerby who carelessly strikes off the head of the sunflower, this sev-enteen-hundred-toilet redoubt ringed by hills full of white farmhouse roofs and fenceposts topped by talking crows and the glint of earless mobile homes like truck-stop diners in the trees — Oh I know they’re there — hills groaning full of firearms and tax deductions and howling with loose-skinned hounds— no, a hookup you don’t hang up on, a new path communicating between here and there, man and man — O.K., then, so what’s the economics if with all this new communication system there is nothing to communicate?

This was the point that our sometime substitute in the old days, Ruth Heard, have I described her? fresh from England, would make; and if she wasn’t looking at you with the blue eyes and the brown curls sticking way out all around, you knew she would be in a second. So much for economics, Jim, the vein of my opening cover for scanners of outgoing transmissions but secretly in its very openness for you too, Jim, and for others outside, if, and I give you leave, you have shown this mish-mash of news. Isn’t there more important things than being brief, Jim? if you’re still there. So brief there is only everything to remember.

You’ve been in South America, but didn’t see anything, you claim: like, I have been here! But remember the grasshopper? I bet you do. Alighted upon the biologist’s ship three hundred seventy miles from land, what had that grasshopper in mind? Through what air did it make that jump? what vein? I am without a lab here except the darkroom. Photography’s the program here, since C.U. can’t be taught or learned but only known, and there are some guys here who take unique pictures, Jim. No sunsets maybe, for orange dust smidgens don’t glow on the man-made horizon of our walls. But these men will photograph a shadow; a halo, in my opinion; a face; perspective looking down a cell block; or bars from inside or out on the gallery half over-, half under-exposed so the series locks into your head remember those flickering parkway guard-rail posts controlling thought? And my old sciencer sees weather control one day altering times of twilight, angles of seasons, rains albeit through radiation-parametering focus spoutwise down to flush up lung-blood from the avenues, leftover power toxins to be rethought. I knew my mother would not see the future in the photo I developed and arrested the development of soon after I was transferred here from Auburn; she shook her head — the future? she said, but look at the valid driver’s license she now carries due to me, hidden in her plastic cigarette case, good for years while Jackie who got me in the photography program will never agree with me what he can do: these men can photograph our finest particles, Jim, if they only knew what is there to be seen in the enlargements of faces, and yet is this a point? — that the taker always sees? Your face last night showed in the seams under the eyes the search and what-not of a life — like the noted substitute teacher Ruth Heard, even to the stories told. But while you are a man whose eyelids have doubted many a dawn, don’t be so sure you’ve lived all the way between your time out there and ours in here. Oh I could have been a doctor; I knew too late. I know another lab, though; and it’s here. You’re getting away from me, Foley, you said.

Well, that kernel was handed to you between thumb and forefinger by a (says-him) Marxist name of strong-man Juan, who was the other person present before the guys trooped into the room ahead of you; and then there you were.

On the threshold, you looked at Juan, the muscle-man with eyestrain pink across the furious, friendly eyes, who studies the abridged Kapital half the night as if his all-night light is the always switched-on bulb of Death Row, and you seemed to see nothing else but the old corn kernel he had picked up in the yard that only I and he and you — the three of us — were aware of, though more than three now occupied the room, and you asked what it was, and Juan held it up — a tooth? you asked — and give it to you and you had it in your right hand for a long time and forgot about it.

And I see that what I have been trying to say, Jim, if I can call you Jim once more, is that at 6:20 p.m. you came into Room Number Four of what we call the South Forty in this Stressed Concrete Castle our contemporary home (smile), you formerly of the Associated Press (was almost all I knew of the messenger), now associated with a gallery of criminal types.

You said you didn’t know why you were here. How come your act’s together, then?

But Jim, you did know.

Don’t know why he’s here; going to fit right in, Efrain said. Which brought a laugh and it was yours; but Smitty, who shuts his eyes tight, talks till he’s ready to open them, then shuts up, said that you were here with a bunch of. . you heard me before. And I as a friend of Smitty’s had heard of you and knew what you brought for me.

I the new man in this pocket of potential waste (new-type potential energy) here long enough to be relocated again, where they might tell you the night before or an hour before, and suddenly you’re not here, you’re up on the Canadian border (polluted beef, don’t you worry they won’t let you in), but you’re thinking up a new life, new territory, redcoat horsemen at outposts, great fish full of history diving out of rivers into lakes, wriggling airborne clear from the great long-head Norseman’s Wisconsin and Minnesota, land to be had, Sino-Russian reconnaissance reflector-planes slipping between dew point and early-warning layer, lunatic wing orbiting the top of the country: point, though, is you got through, Jim; and I spoke and said some of the guys were really into journalism, and you asked if there was some good copy around, and they wanted to know about yours. Oh, you said, it made you think of newsprint like wrapping paper and you said you could wrap the state of Vermont or New Hampshire in a year’s newsprint.

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