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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"Harry, you must eat a solid breakfast," Janice calls, "if you're going to play golf right through lunch. Dr. Morris told you coffee on an empty stomach is about the worst thing you can do for hypertension."

"If there's anything makes me hypertense," he calls back, "it's women telling me all the time what to eat." As he bites into the stale doughnut the sugar patters down on the paper and dusts the crimson lapels of his seigneurial bathrobe.

Janice continues to Pru, "Have you been giving any thought to Nelson's diet? He doesn't look like he's eating anything."

"He never did eat much," Pru says. "He must be where Roy gets his pickiness from."

Judy has found among all the channels of network and cable an old Lassie movie; Harry moves to the end of the sofa to get an angle on it. The collie nudges awake the lost boy asleep in the haystack and leads him home, down a dirt road toward a purple Scottish sunset. The music swells like an ache in the throat; Harry smiles sheepishly at Judy through his tears. Her eyes, that did their crying earlier, are dry. Lassie is not part of her childhood past, lost forever.

He tells her when the frog leaves his throat, "I got to go play golf, Judy. Think you can manage here today with these rude folks?"

She studies him seriously, not quite sure of the joke. "I guess so."

"They're good people," he says, not sure this is true. "How would you like to go Sunfishing some time?"

"What's Sunfishing?"

"It's sailing in a little boat. We'd go off one of the hotel beaches in Deleon. They're supposed to be just for the guests but I know the guy who runs the concession. I play golf with his father."

Her eyes don't leave his face. "Have you ever done it, Grandpa? Sunfishing."

"Sure. A coupla times." Once, actually; but it was a vivid lesson. With Cindy Murkett in her black bikini.that showed the hairs in her crotch. Her breasts slipsloppy in their little black sling. The wind tugging, the water slapping, the sun wielding its silent white hammer on their skins, the two of them alone and nearly naked.

"Sounds neat," Judy ventures, adding, "I got a prize in my camp swimming class for staying underwater the longest." She returns her gaze to the television, rapidly flicking through the channels with the hand control -channel-surfing, kids call it.

Harry tries to imagine the world seen through her clear green eyes, every little thing vivid and sharp and new, packed full of itself like a satin valentine. His own vision feels fogged no matter which glasses he puts on, for reading or far vision. He wears the latter only for movies and night driving, and refuses to get bifocals; glasses worn for more than an hour at a time hurt his ears. And the lenses are always dusty and the things he looks at all seem tired; he's seen them too many times before. A kind of drought has settled over the world, a bleaching such as overtakes old color prints, even the ones kept in a drawer.

Except, strangely, the first fairway of a golf course before his first swing. This vista is ever fresh. There, on the tee's earth platform, standing in his large white spiked Footjoys and blue sweat socks, drawing the long tapered steel wand of his Lynx Predator driver from the bag, he feels tall again, tall the way he used to on a hardwood basketball floor when after those first minutes his growing momentum and lengthening bounds and leaps reduced the court to childlike dimensions, to the size of a tennis court and then a Ping-Pong table, his legs unthinkingly eating the distances up, back and forth, and the hoop with its dainty skirtlike net dipping down to be there on the layups. So, in golf, the distances, the hundreds of yards, dissolve to a few effortless swings if you find the inner magic, the key. Always, golf for him holds out the hope ofperfection, of a perfect weightlessness and consummate ease, for now and again it does happen, happens in three dimensions, shot after shot. But then he gets human and tries to force it, to make it happen, to get ten extra yards, to steer it, and it goes away, grace you could call it, the feeling of collaboration, of being bigger than he really is. When you stand up on the first tee it is there, it comes back from wherever it lives during the rest of your life, endless possibility, the possibility of a flawless round, and a round without a speck of bad in it, without a missed two-footer or a flying right elbow, without a pushed wood or pulled iron; the first fairway is in front ofyou, palm trees on the left and water on the right, flat as a picture. All you have to do is take a simple pure swing and puncture the picture in the middle with a ball that shrinks in a second to the size of a needle-prick, a tiny tunnel into the absolute. That would be it.

But on his practice swing his chest gives a twang of pain and this makes him think for some reason of Nelson. The kid jangles in his mind. As he stands up to the ball he feels crowded but is impatient and hits it outside in, trying too hard with his right hand. The ball starts out promisingly but leaks more and more to the right and disappears too close to the edge of the long scummy pond of water.

" 'Fraid that's alligator territory," Berme says sadly. Berme is his partner for the round.

"Mulligan?" Harry asks.

There is a pause. Ed Silberstein asks Joe Gold, "What do you think?"

Joe tells Harry, "I didn't notice that we took any mulligans."

Harry says, "You cripples don't hit it far enough to get into trouble. We always give mulligans on the first drive. That's been our tradition."

Ed says, "Angstrom, how're you ever going to live up to your potential if we keep babying you with mulligans?"

Joe says, "How much potential you think a guy with a gut like that still has? I think his potential has all gone to his colon."

While they are thus ribbing him Rabbit takes another ball from his pocket and tees it up and, with a stiff half-swing, sends it safely but ingloriously down the left side of the fairway. Perhaps not quite safely: it seems to hit a hard spot and keeps bouncing toward a palm tree. "Sorry, Bernie," he says. "I'll loosen up."

"Am I worried?" Bernie asks, putting his foot to the electric-cart pedal a split-second before Harry has settled into the seat beside him. "With your brawn and my brains, we'll cream these oafs."

Bernie Drechsel, Ed Silberstein, and Joe Gold are all older than Harry, and shorter, and usually make him feel good about himself. With them, he is a big Swede, they call him Angstrom, a comical pet gentile, a big pale uncircumcised hunk of American white bread. He in turn treasures their perspective; it seems more manly than his, sadder and wiser and less shaky. Their long history has put all that suffering in its pocket and strides on. Harry asks Bernie, as the cart rolls over the tamped and glistening grass toward their balls, "Whaddeya think about all this fuss about this Deion Sanders? In the paper this morning he even has the mayor of Fort Myers making excuses for him."

Bernie shifts the cigar in his mouth an inch and says, "It's cruel, you know, to take these black kids out of nowhere and give 'em all this publicity and turn them into millionaires. No wonder they go crazy."

"The paper says the crowd kept the cops from giving him room: He had flipped out at some salesclerk who said he had stolen a pair of earrings. He even took a pop at her."

"I don't know about Sanders," Bernie says, "but a lot of it's drugs. Cocaine. The stuff is everywhere."

"You wonder what people see in it," Rabbit says.

"What they see in it," Bernie says, stopping the cart and resting his cigar on the edge of the plastic ledge for holding drinks or beer cans, "is instant happiness." He squares up to his second shot with that awful stance of his, his feet too close together, his bald head dipping down in a reverse weight-shift, and punches the ball with a four-iron: all arms and wrists. It stays straight, though, and winds up within an easy chip in front of the elevated green. "There are two routes to happiness," he continues, back at the wheel of the cart. "Work for it, day after day, like you and I did, or take a chemical shortcut. With the world the way it is, these kids take the shortcut. The long way looks too long."

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