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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"Grandpa, don't joke," the dear child scolds.

The cardiologist is a big red-skinned immigrant Australian named Dr. Olman. He has a pink hooked nose, brilliant white teeth, and bleached lank hair. Years of the good life in Florida have overlaid his clipped native accent with a Southern drawl. He takes Janice's little narrow brown hand into his meaty red one and they become, in Rabbit's eyes, his cardiac parents – worried little nutbrown mother and outwardly calm and factual father. "He's been a pretty sick lad," Dr. Olman tells her, "and we've got to teach him how to take better care of himself."

"What's wrong with his heart, exactly?" Janice asks.

"The usual thing, ma'am. It's tired and stiff and full of crud. It's a typical American heart, for his age and economic status et cetera."

That strangely intense and slightly embarrassing Gallo-wine commercial, about the guy who has a blind date with a girl who turns out to be the very liquor saleswoman who advised him what bottle to take the date as a present, comes on.

"As best we can tell without cardiac catheterization," Dr. Olman is saying, "the principal narrowing is the standard one, the left anterior descending, the workhorse of the system. Luckily, he appears to have fairly well-developed collaterals, which have kept him going. You see, ma'am, whenever the heart's been starving for oxygen, it tries to develop alternative routes to get blood to the muscle. Also, from the murmur we think we hear there may be a fair bit of stenosis around the aortic valve. Not a pretty picture, but by no means the worst we've ever seen."

Janice looks at her husband almost with pride. "Oh, Harry! You would mention the little aches and breathing problems, and I never took you seriously. You didn't complain hard enough."

"It was perfect," the girl in the commercial sighingly says, at the end of their date, starry-eyed and in soft focus; you can see they will fuck, if not this date the next, and marry and live happily ever after, all by the grace of Gallo.

Dr. Olman has sized Janice up as educable and moves into a heavier sell. "Now, if his luck holds and the lesion isn't located at a bifurcation and there's not too much calcification a lot of doctors would advise you to begin modestly, with an angioplasty, and wait and see. To my own way of thinking, though, you have to offset the relative lack of trauma and expense – we can't forget expense, now can we, what with Medicare's pulling in its horns and this new chappie's promising no new taxes? – we have to offset those psychological pluses against the minus kicker, the likelihood of recurrent stenosis and having to do it all over again, the odds of which, to be honest about it, are on the shady side of fifty per cent. For my money, not to keep beating about the bush, the artery bypass is the sucker that does the job. What do you say in the States, never send a boy when you can send a man? Now, ma'am, how much do you want to know about the heart?"

"Everything," Janice says, adoring of this man willing to explain things to her, her tongue peeking through as she prepares to concentrate.

"Way to go," Dr. Olman gamely says, and makes a big fist with one hand and with the fingers ofthe other begins to show her how the coronary arteries he on the heart's surface, their branches burrowing into the hardworking muscle. Harry has seen this demonstration earlier in the day and signals Judy to come closer to his bed. She is wearing the pink party dress she came down on the airplane in, and the stiff white ribbon around her braided pigtail. Yesterday's experience at sea has given her a sunburn on her nostril wings and beneath her clear green eyes, where her freckles are thinnest. She keeps staring at his heart monitor.

"What do you see?" he asks her huskily.

"It's like a little twitchy worm, that just goes and goes."

"That's life," he tells her. "That's your granddad."

Judy yields to an impulse: leaning against the bed, she tries to embrace the old man, disarraying and tugging at the tubes and wires attached to his upper body. "Oh Grandpa," she confesses, "it's all my fault!"

Her breath feels hot on his neck. He hugs her, as best he can, with the arm not pierced by the IV. "Don't be silly. What's your fault?"

"Yesterday. I scared you out there."

"You didn't scare me, sweetie. The Gulf of Mexico scared me. You weren't scared?"

Tearily she shakes her head No.

This seems another wonder to him. "Why not?" he asks.

Her smooth little face gets that tiptoe look which in a mature woman signals that she is about to lie. She says, a bit mincingly, "Yon were out there with me, Grandpa. And there were lots of other boats around."

He renews his trammelled hug and her slender little body is unresisting, something has gone out of it; he feels a roughness in his throat, perhaps from yesterday's gulps of saltwater. His eyes film over with the hot relief of tears. On television, men with wide shoulders and narrow hips move like gods on Olympus among the clouds. You can't even see any more who is white and who is black. Blinded though they are, the announcers keep yelling in those straining excited voices they have. A commercial shows a Subaru bumpily climbing a mountain of dead car chassis.

"Want to change the channel?" he asks Judy, and moves her hand from his bandaged wrist, where it is hurting him, to the hand control for the television set on its beige metal arm. He lies back feeling the white walls stretch all around him just like the ocean yesterday, his bed a raft. Judy flickers the TV through a wrestling match, a parade, a scare commercial with Karl Malden barking that with American Express Traveller's Checks you can't be robbed, a man and a woman in black skating in a sparkle of ice, a tonguein-cheek horror movie about being a teenage werewolf in London, and another movie called, they learn from the station break, The Fists of Bruce Lee. The kung-fu violence is arresting enough to hold Judy's attention for a few minutes. Fragments of what Dr. Ohnan is confidentially yet, in that peppy Australian way, quite audibly telling Janice weave into the action – murderous kicks turned into slow motion by the director, graceful blurs of Oriental color. "… preliminary test… pulmonary congestion common after a myocardial infarction… backup of blood, leakage into the lung tissue… hydralazine… inflammation of the pericardium… Dilantin… skin rashes, diarrhea, loss of hair… hate to go to a pacemaker for a man this age…"

Bruce Lee kicks out, once, twice, thrice, and three handsomely costumed thugs slowly fly toward the corners of the room, furniture shattering like fortune cookies, and suddenly Judy has switched channels again, coming upon a commercial Harry loves, for some skin moisturizer whose name he can never remember, but he could never forget the look on the model's face, the way she smiles over her naked shoulder as she slinks behind the bathroom door, and then when she comes out the satisfied wicked purr in her expression, her wet hair turbanned in a bulky soft towel, her breasts showing cleavage but the nipples just off the screen, if only the screen were a little wider, if he could only slow the action down like in a kung-fu movie, for a thirtieth of a second there might have been a nipple, and the way she relaxes into a blue velvet sofa as if ever so profoundly satisfied, lovely eyes closed with their greasy lids, her eyebrows slightly thick like Cindy Murkett's, and then the part coming up where she is dressed to go out for the evening, all moisturized still beneath her gold lam amp;… "No, wait, honey": he senses that Judy is about to change channels and reaches out to stop her but fails, it's back to the werewolf, the boy's face is growing fur as he crouches in a telephone booth, and then the ice skaters, the woman sliding backward at you with her little skirt flipped up; and then the back of Harry's wrist stings from the tug he gave the IV, and a flirtatious ghost of yesterday's pain plays across his chest. The Demerol must be wearing off. They gave him a little brown bottle of nitroglycerin on his bedside table next to the telephone and a glass of stale water and he shakes one out shakily and puts it beneath his tongue as they have taught him. It burns under his tongue and then, the funny thing, a minute or two later, his asshole tingles.

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