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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Next we come to Enterolobium cyclocarpum, known as the ear tree. "The seed pods," the guide recites, "resemble the human ear." The crowd, warmed up now to laugh at almost any ridiculous thing God does, titters, and the guide allows herself a selfcongratulatory smile; she knows these trees, these words, and these docile senile tourists backwards and forwards.

A little human hand tugs Harry's with a chamoislike softness of its own. He bends down to little Judy's exquisite, tarted-up, green-eyed face. He sees that Pru allowed her to put on a little lipstick, too. To sweeten this outing for her, to make it seem an occasion. Going sightseeing with Grandpa and Grandma. You'll always remember this. When they're gone to their reward. "Roy wants to know," Judy says as softly as she can, but anxiety driving her voice up, "how soon it's over."

"It's just begun," Harry says.

Janice begins to whisper with them. Her attention span is as poor as theirs. "Could we make a break for it before they make us cross the street?"

"It's a one-way tour," Harry says. "Come on, everybody. Let's stick with it."

He picks up little Roy, whose body weight has been doubled by boredom, and carries him, and they all cross the street, a street that in the very old days was a cow trail and that "Mr. Edison," as the woman keeps calling him, simpering like he's some big-dicked boyfriend of hers, took it into his head to line with royal palms. "These royal palms grow wild sixty miles of us on the fringe of the Everglades; however, it was much easier, in 1900, to bring them in from Cuba by great sailboats than to drag them by ox teams through our virtually impenetrable Florida swamplands."

On winding paths they drag themselves, dodging wheelchairs, trying not to step on the little beds of cactus and flowers that line the paths, trying to hear their guide as her voice fades in and out of its scratchy groove, trying to take an interest in the embowering green enigmas that Edison brought from afar in his heavily financed search for a substitute rubber. Here are the kapok tree and the Java plum, the cannonball tree from Trinidad and the mango from India, the lipstick tree and the birdseye bush, the sweetheart orchid, which is not as many people think a parasite, and the lychee nut, whose fruit is much sought after by the Chinese. Harry's legs ache, and the small of his back, and that suspect area behind his left ribs, which gives him a twinge, but he cannot put Roy down because the kid is asleep: he must be one of the sleepingest four-year-olds in the world. Janice and Judy have conspiratorially separated from the group and wandered ahead to the Edison house, a house brought in four sailing schooners from Maine in 1886, the first prefabricated house in the world you could say, a house without a kitchen because Edison didn't like the smell of cooking food, a house with a wide veranda on all four sides and with the first modern pool in Florida, of blue cement reinforced not with steel but with bamboo and not a crack or leak in it to this day. Marvels! So much endeavor, ingenuity, oddity, and bravery has been compressed into history: Harry can hardly stand under the weight of it all, bending his bones, melting his mind, pressing like a turnscrew on the segments of his skull, giving him a fantastic itch under his shoulder blades, where his 100-per-cent cotton blue-pinstriped shirt has moistened and then dried. He catches up to Janice, his heart twanging, and softly begs her, "Scratch." Softly so as not to wake the child.

"Where?" She shifts her cigarette, a Pall Mall she must have borrowed from Pru, to the other hand and rakes at his back, up, down, to the right and left as he directs, until the demon feels exorcised. This jungly garden of old Edison's is a devilish place. His breathing is bothered; he makes a determined effort not to hyperventilate. The commotion wakes Roy and he drowsily announces, "I got to go pee."

"I bet you do," Harry says, and tells him, "You can't go behind any of these bushes, they're all too rare."

"The scarlet dombeya wallichi is known as the pink ball tree of India," the guide is telling her less unruly students with a lilt. "It has a very heavy fragrance. Mrs. Edison loved birds and always kept canaries, parakeets, and parrots. These birds live out of doors the year around and love it here."

"How does she know they love it here?" Judy asks her grandparents, a bit noisily, so that several venerable heads turn. "She's not a parrot."

"Who says she's not?" Harry whispers.

"I got to go pee," Roy repeats.

"Yeah well, your need to pee isn't the exact fucking center of the universe," Harry tells him. He is badly out of practice in this fathering business, and never was that great at it.

Janice offers, "I'll take him back along the path, there were bathrooms in the building we came in at."

Judy is alarmed to see these two escaping. "I want to come with!" she cries, so loudly the tour guide stops her recital for a moment. "Maybe I got to go pee too!"

Harry grabs her hand and holds it tight and even gives it a sadistic squeeze. "And maybe you don't," he says. "Come on, stick it out. Go with the flow, for Chrissake. You'll miss the world's oldest Goddamn light bulb."

A woman in a wheelchair, not so crippled her hair isn't dyed orange and permed into more curlicues than a monkey's ass, looks over and gives them a glare. Knowing when to quit, Harry thinks. Nobody knows when to quit. Their guide has lifted her voice up a notch and is saying, "Here is the sapodilla of the American tropics. From the sap of this tree comes chicle, used in making chewing gum."

"Hear that?" Harry asks Judy, out of breath with the social tension of this endless tour and sorry about the hurtful squeeze. "The tree Chiclets come from."

"What are Chiclets?" Judy asks, looking up at him with a little new nick of a squint taken in those clear green eyes. She is sore, slightly, and wary of him now. He has nicked her innocence. Can it be she's never heard of Chiclets? Have they really gone the way of penny candy, of sugar-soaked Fosnacht doughnuts, of those little red ration tokens you had to use during the war? All as real as yesterday to Harry. Realer.

"Mr. Edison planted this chewing-gum tree for children," the guide is going on. "He loved his children and his grandchildren very much and spent long hours with them, though because of his deafness he had to do most of the talking." There is a munnur of laughter, and she preens, stretching her neck and pursing her lips, as if she hadn't expected this, though she must have, she has done this spiel so often she must have their reactions taped down to every stray chuckle. Now she leads her herd of oldsters, shuffling and bobbing solemnly in their splashy playclothes, toward a link fence and a new phase of their five-dollar pilgrimage. They are about to cross the road lined with the unnaturally straight and concrete-colored palm trunks that Edison, the amazing great American, floated in from Cuba when the century was an infant. But she can't let them cross without socking them with one more cute plant. "The shrub with the long red tassels is the chenille plant from the Bismarck Islands. The chenille is French and means caterpillar. You can readily see the meaning for the name of the plant."

"Yukko, caterpillars," little Judy pipes up to Harry, and he recognizes this as a female attempt to rebridge the space between them, and he feels worse than ever about that hurtful squeeze. He wonders why he did it, why he tends to do mean things like that, to women mostly, as if blaming them for the world as it is, full of chenille plants and without mercy. He feels fragile, on the edge of lousy. That bad child inside his chest keeps playing with matches.

The guide announces, "We are now going across the street to the laboratory where Mr. Edison did his last experimental work."

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