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.
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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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"Thelma, she's around, I can't just wander off. I was getting reacclimated. I have to take it more easy on myself now."

"You've never loved me, Harry. You just loved the fact that I loved you. I'm not complaining. It's what I deserve. You make your own punishments in life, I honest to God believe that. You get exactly what you deserve. God sees to it. Look at my hands. I used to have pretty hands. At least I thought they were pretty. Now half the fingers – look at them! Deformed. I couldn't even get my wedding ring off if I tried now."

He looks, leaning forward so the rocker tips under him, to examine her extended hands. The knuckles are swollen and shiny, and some of the segments with the fingernails go off at a slight angle, but he wouldn't have noticed without her calling his attention to it. "You don't want to get your wedding ring off" he tells her. "As I remember, you and Ronnie are stuck together with glue. You even eat the glue sometimes, I seem to remember your telling me."

Her hands have made Thelma angry and he is fighting back, as if she blames her hands on him. She says, "You always minded that, that I was a wife to Ronnie, along with serving you whenever it suited. But who were you to mind that, stuck fast to Janice and her money? I never tried to take you away from her, though it would have been easy at times."

"Would it?" He rocks back. "I don't know, something about that little mutt still gets to me. She won't give up. She never really figured out how the world is put together but she's still working at it. Now she's got the idea she wants to be a working girl. She's signed up at the Penn State annex over on Pine Street for those courses you have to take to get a real-estate broker's license. At Mt. Judge High I don't think she ever got over a C, even in home ec. Come to think of it, I bet she flunked home ec., the only girl in the history of the school."

Thelma grudgingly smiles; her sallow face lights up in her shadowy living room. "Good for her," she says. "If I had my health, I'd be getting out myself. This being a homemaker – they sold us a bill of goods, back there in home ec."

"How is Ronnie, by the way?"

"The same," she says, with a note of that languid, plaintive music the women of the county inject into their saga of their stoic days. "Not hustling so hard for the new customers now, coasting along on the old. He's out from under the children's educations, so his only financial burden is me and the doctor bills. Not that he wouldn't be willing to pay for little Ron to finish up at Lehigh if he wanted; it's been a disappointment, his becoming a kind of hippie the way he has. The funny thing was he was the cleverest of the three at school. Things just came too easy to him, I guess."

Harry has heard this before. Thelma's voice is dutiful and deliberately calm, issuing small family talk when both know that what she wants to discuss is her old issue, that flared up a minute ago, ofwhether he loves her or not, or why at least he doesn't need her as much as she does him. But their relationship at the very start, the Caribbean night they first slept together, was established with her in pursuit of him, and all the years since, of hidden meetings, of wise decisions to end it and thrilling abject collapses back into sex, have not disrupted the fundamental pattern of her giving and his taking, of her fearing their end more than he, and clinging, and disliking herself for clinging, and wanting to punish him for her dislike, and him shrugging and continuing to bask in the sun of her love, that rises every day whether he is there or not. He can't believe it, quite, and has to keep testing her.

"These kids," he says, taking a bluff tone as if they are making small talk in public instead of enjoying this stolen intimacy behind drawn shades in Arrowdale, "they break your heart. You ought to see Nelson when he's down there in Florida and has to live with me a little. The poor kid was jumping out of his skin."

Thelma makes an annoyed motion with her hands. "Harry, you're not actually God, it just feels that way to you. Do you really think Nelson was jumpy because of you?"

"Why else?"

She knows something. She hesitates, but cannot resist, perhaps, a bit of revenge for his taking her always for granted, for his being in Pennsylvania a week before calling. "You must know about Nelson. My boys say he's a cocaine addict. They've all used it, that generation, but Nelson they tell me is really hooked. As they say, the drug runs him, instead of him just using the drug."

Harry has rocked back as far as the rocker will take him without his shoes leaving the rug and remains in that position so long that Thelma becomes anxious, knowing that this man isn't sound inside and can have a heart attack. At last he rocks forward again and, gazing at her thoughtfully, says, "That explains a lot." He fishes in the side pocket of his tweedy gray sports coat for a small brown bottle and deftly spills a single tiny pill into his hand and puts it in his mouth, under his tongue. There is a certain habituated daintiness in the gesture. "Coke takes money, doesn't it?" he asks Thelma. "I mean, you can go through hundreds. Thousands."

She regrets her telling him, now that the satisfaction is past of shocking him, of waking him up to her existence once again. She is still at heart too much a schoolteacher; she enjoys administering a lesson. "I can't believe Janice doesn't know and hasn't discussed it with you, or that Nelson's wife hasn't come to you both."

"Pru's pretty close-mouthed," he says. "I don't see them that much. Even when we're all in the county, it's on opposite sides of Brewer. Janice is over there at her mother's old place a fair amount, but not me. She owns it, I don't."

"Harry, don't look so stunned. It's all just rumor, and really is his business, his and his family's. We all do things our parents wouldn't approve of, and they know it, and don't want to know, if you follow me. Oh, Harry, damn it! Now I've made you sad, when I'm dying to make you happy. Why don't you like me to make you happy? Why have you always fought it?"

"I haven't. I haven't fought it, Thel. We've had great times. It's just, we've never been exactly set up for a lot of happiness, and now -"

"Now, dear?"

"Now I know how you've been feeling all these years."

She wants for him to explain, but he can't he is suddenly aficted by tact. She prompts, "Mortal?"

"Yeah. Close to it. I mean, things wearing thin so you sort of look right through them."

"Including me."

"Not you. Cut it out, making me jump through this same fucking hoop all the time. Why do you think I'm here?"

"To make love. To screw me. Go ahead. I mean come ahead. Why do you think I answered the door?" She has leaned forward across the table, her knees white where they press against the edge, and her face has taken on that melting crazy look women get at the decision to go with it, to fuck in spite of all, which frightens him now because it suggests a willing slide down into death.

"Wait. Thel. Let's think about this." On cue, the nitroglycerin has worked its way through and he gets that tingle. He sits back, suppressing it. "I'm supposed to avoid excitement."

She asks, amused somehow by the need to negotiate, "Have you made love with Janice?"

"Once or twice maybe. I kind of forget. You know, it's like brushing your teeth at night, you forget if you did or didn't."

She takes this in, and decides to tease him. "I made up Alex's old bed for us."

"You didn't use to like to use real beds."

"I've become very liberated," she says, smiling, extracting what pleasure she can out of his evasions.

He is tempted, picturing Thelma in bed naked, her tallowy willing body, her breasts that have nursed three boy babies and two men at least but look virginal and rosy like a baby's thumbtips, not bumply and chewed and dark like Janice's, her buttocks glassy in texture and not finely gritty like Janice's, her pubic hair reddish and skimpy enough to see the slit through unlike Janice's opaque thick bush, and her shameless and matter-of-fact mouth, Thelma's, her frank humorous hunger, amused at being caught in the trap of lust over and over, not holding it against him all these years of off and on, in and out. But then he thinks of Ronnie who knows where that obnoxious prick's prick has been, Rabbit can't believe he's as faithful as Thelma thinks he is, not from the way he used to carry on in the locker room, not from the way he was screwing Ruth before Harry was, and cashing in Cindy that time in the Caribbean – and of AIDS. That virus too small to imagine travelling through our fluids, even a drop or two of saliva or cunt slime, and unlocking our antibodies with its little picks, so that our insides lose their balance and we topple into pneumonia, into starvation. Love and death, they can't be pried apart any more. But he can't tell Thelma that. It would be spitting in her wide-open face.

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