John Updike - Rabbit At Rest

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Rabbit, now in his 50s and with a heart condition, is living in a condo in Florida. Nelson and his family come to stay and disaster unfolds. Rabbit has a serious heart attack after a boating accident with his granddaughter and Nelson has been embezzling the family firm to feed his cocaine habit.
***
Amazon.com Review
It's 1989, and Harry "Rabbit" Angstrom feels anything but restful. In fact he's frozen, incapacitated by his fear of death-and in the final year of the Reagan era, he's right to be afraid. His 55-year-old body, swollen with beer and munchies and racked with chest pains, wears its bulk "like a set of blankets the decades have brought one by one." He suspects that his son Nelson, who's recently taken over the family car dealership, is embezzling money to support a cocaine habit.
Indeed, from Rabbit's vantage point-which alternates between a winter condo in Florida and the ancestral digs in Pennsylvania, not to mention a detour to an intensive care unit-decay is overtaking the entire world. The budget deficit is destroying America, his accountant is dying of AIDS, and a terrorist bomb has just destroyed Pan Am Flight 103 above Lockerbie, Scotland. This last incident, with its rapid transit from life to death, hits Rabbit particularly hard:
Imagine sitting there in your seat being lulled by the hum of the big Rolls-Royce engines and the stewardesses bring the clinking drinks caddy… and then with a roar and giant ripping noise and scattered screams this whole cozy world dropping away and nothing under you but black space and your chest squeezed by the terrible unbreathable cold, that cold you can scarcely believe is there but that you sometimes actually feel still packed into the suitcases, stored in the unpressurized hold, when you unpack your clothes, the dirty underwear and beach towels with the merciless chill of death from outer space still in them.
Marching through the decades, John Updike's first three Rabbit novels-Rabbit, Run (1960), Rabbit Redux (1971), and Rabbit Is Rich (1981)-dissect middle-class America in all its dysfunctional glory. Rabbit at Rest (1990), the final installment and winner of the Pulitzer Prize, continues this brilliant dissection. Yet it also develops Rabbit's character more fully as he grapples with an uncertain future and the consequences of his past. At one point, for example, he's taken his granddaughter Judy for a sailing expedition when his first heart attack strikes. Rabbit gamely navigates the tiny craft to shore-and then, lying on the beach, feels a paradoxical relief at having both saved his beloved Judy and meeting his own death. (He doesn't, not yet.) Meanwhile, this all-American dad feels responsible for his son's full-blown drug addiction but incapable of helping him. (Ironically, it's Rabbit's wife Janice, the "poor dumb mutt," who marches Nelson into rehab.)
His misplaced sense of responsibility-plus his crude sexual urges and racial slurs-can make Rabbit seems less than lovable. Still, there's something utterly heroic about his character. When the end comes, after all, it's the Angstrom family that refuses to accept the reality of Rabbit's mortality. Only Updike's irreplaceable mouthpiece rises to the occasion, delivering a stoical, one-word valediction: "Enough."

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"How's it going?" he asks.

"O.K."

"You looking forward to school starting next week?"

"Kind of. Summer gets kind of boring."

"How's Roy? Is he bored by summer too?"

"He's so stupid he doesn't know what boring is. He's been put down for his nap now but is still bawling. Mommy's flipping out." Since Harry seems stuck for a response, she volunteers, "Daddy's not here, he's over at the lot."

"That's O.K., I'd just as soon talk to your mommy actually. Could you get her for me? Judy," he impulsively adds, before the child can leave the phone.

"Yeah?"

"You study hard, now. Don't you worry about those kids who think they're so much. You're a very lovely girl and everything will come to you if you wait. Don't force it. Don't force growing up. Everything will be fine."

This is too much to try to cram into her. She is only nine. Ten more years before she can go west like Mim and break out. "I know," Judy says, with a sigh, and perhaps she does. After a rattle of thereceiver on wood and voices in the background and footsteps hastily enlarging, Pru arrives at the telephone, breathless.

"Harry! "

"Hi there, Teresa. How's it going?" This seductive nonchalant tone, all wrong, but it just came out.

"Not so good," she says. "Where on earth are you?"

"Far away, where everybody wants me. Hey. Whajou tell for?"

"Oh Harry, I had to." She starts to cry. "I couldn't let Nelson not know, he's trying to be so straight. It's pathetic. He's been confessing all this dreadful stuff to me, I can't tell you or anybody the half of it, and at night we pray together, pray aloud kneeling by the bed, he's just so desperate to lick the drugs and be a decent father and husband, just be normal."

"He is, huh? Well, great. Still, you didn't need to turn us in, it only happened once, and there wasn't any follow-up, in fact I thought you'd totally forgotten about it."

"How could you think I'd forgotten? You must think I'm a real slut."

"Well, no, but, you know, you've been having a lot on your mind. For me, it was almost like I'd dreamed it." He means this as a compliment.

But Pru's voice hardens. "Well, it meant a little more to me than that." Women: you never know which side they want to dance on. "It was a terrible betrayal of my husband," she pronounces solemnly.

"Well," Rabbit says, "he hasn't been all that great a husband, as far as I can see. Hey, is Judy listening to all this?"

"I'm on the upstairs phone. I asked her to hang up downstairs."

"And did she? Judy!" Harry shouts. "I see you there!"

There is a fumbling soft rattle and a new clarity in the connection. Pru says, "Shit."

Rabbit reassures her. "I forget exactly what we said but I doubt if she understood much."

"She understands more than she lets on. Girls do."

"Well, anyway," he says. "Did he confess to affairs with men as well as women? Nelson."

"I can't possibly answer that question," she says, in a flat dry voice forever closed to him. Another woman's voice, warmer, courteous, faintly lazy, probably black, breaks in, saying, "Sir, yore three minutes are u-up. Please deposit a dollar ten saints if you wish continuation."

"Maybe I'm done," he says, to both women.

Pru shouts, over their imperilled connection, "Harry, where are you?"

"On the road!" he shouts back. He still has a little stack of change in front of him and inserts four quarters and a dime. As they gong away, he sings a snatch of a song he just heard on the radio, Willie Nelson's signature: "On the road again…"

This makes Pru sob; it's as bad as talking to Janice. "Oh don't," she cries. "Don't tease us all, we can't help it we're all tied down back here."

Pity touches him, with the memory of her beauty naked like blossoms that night in the narrow musty room as the rain intensified. She is stuck back there, she is saying, with the living. "I'm tied down too," he tells her. "I'm tied to my carcass."

"What shall I tell Janice?"

"Tell her I'm on the way to the condo. Tell her she can come join me whenever she wants. I just didn't like the squeeze you all put on me last night. I get claustrophobic in my old age."

"I never should have slept with you, it's just at the time…"

"It was," he says. "It was a great idea at the time. Tell me how'd you think I did, looking back on it? For an old guy."

She hesitates, then says, "That's it, that's the trouble. I don't see you as an old guy, Harry. I never did."

O.K., he has won this from her. This woman-to-man voice. Who could ask for anything more? Let her go. He says, "Don't you fret, Pru. You're a great dish. Tell Nelson to loosen up. Just because he got over crack he doesn't have to turn into Billy Graham." Or Jim Bakker. Harry hangs up, and the telephone startles him by returning, with a pang and clatter, the dime and four quarters. That operator with the Southern voice must have been listening and taken a shine to him.

As the afternoon wears on toward Fayetteville, North Carolina, where there is a Comfort Inn he and Janice have stayed at in years past, he hears an amazing thing on the car radio. They interrupt a string of Forties swing classics to announce that Bartlett Giamatti, Commissioner of Baseball and former president of Yale University, died of a heart attack on the island of Martha's Vineyard, Massachusetts, late this afternoon. Pete Rose strikes back, Rabbit thinks. Professor Giamatti, who was only fifty-one years of age, retired after lunch in his summer home in Edgartown, and at three o'clock was found by his wife and son in full cardiac arrest. Only fifty-one, Rabbit thinks. Police took Giamatti to the Martha's Vineyard Hospital where he was worked upon for an hour and a half, the emergency team several times succeeded in restoring the electric mechanism of the heartbeat, but Giamatti was at last pronounced dead. That little electric twitch: without it we're so much rotting meat. One of the first things he ought to do in Florida is make an appointment with Dr. Morris, to keep himself out of the hands of that hawk-faced Australian, Dr. Olman. Dying to sink hú knife into me. Giamatti had been an English instructor at Yale, the news says, and became the youngest president in the history of the university, and in eleven years reversed that institution's trend into red ink and academic mediocrity. As president of the National League, he had aroused some players' ire by tampering with the strike zone and the balk rule. As commissioner, his brief tenure was dominated by the painful Rose affair, whose settlement a week ago left Giamatti in an apparently strong position. He was a heavy man and a heavy smoker. At least I'm no smoker. And now, a tune our listeners never get tired of requesting, "In the Mood."

Fayetteville used to be a hot town, with all the soldiers from Fort Bragg, Rabbit remembers from a segment of 60 Minutes he once watched. The downtown had some blocks of triple-X movies and sleazy hotels the city fathers finally in despair tore down entirely and made into a park. After a dinner of deep-fried shrimp, with onion rings and white bread fried on one side, a Southern delicacy he guesses, at the Comfort Inn – one of those restaurants with a salad bar big as a little cafeteria, so you wonder as you sit there waiting for the waitress if you're missing the boat – Harry cruises in the slate-gray Celica, his private Batmobile, toward the center of wicked Fayetteville. He can find for a hot spot only a shadowy broad street of blacks loitering in doorways here and there, waiting for some message, some event from beyond. No hookers in hotpants or spandex exercise tights, just a big red-bearded white man in studded black leather who keeps revving his motorcycle, twisting the throttle and producing a tremendous noise. The blacks don't blink. They keep waiting. Even at evening the shadowy air is hot, they move through it languidly like sick fish, their hands flapping at the wrists in that angled black way.

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