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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She tries to pick an outfit suitable for seeing your son off to a drug clinic and then babysitting for Roy all morning while Pru drives Nelson into North Philadelphia, which she's very nervous about, who wouldn't be, they do terrible things now, deliberately rear-end you and then drive off with your car when you get out, there is no such thing any more as a good Philadelphia neighborhood, and for a striking-looking younger woman like Pru is it's worse. Pru hopes to be back by noon so Janice can go pick Harry up at the hospital, by twelve-thirty at the latest the nurse on duty warned, they don't like to give them lunch that last day and the girls coming round to make the beds don't like having somebody in one of them dirtying the sheets and then leaving. It makes her stomach nervous to think of Harry and his heart, men are so fragile it turns out, though that nice young intelligent Dr. Breit seemed delighted with what the balloon did, but Harry's image of himself has changed, he speaks of himself almost as if he's somebody he knew a long time ago, and he seems more of a baby than he ever did, letting her make all the decisions. She doesn't see how she can leave him alone in their house his first night out of the hospital, but she can't miss the quiz either, it really makes more sense with all this coming and going and the children upset about their father's going off to the rehab to shift her base of operations to Mother's house and to wear the smart light wool outfit she bought two years ago at the Wanamaker's out at the mall on the old fairgrounds (didn't they use to get excited in school, getting the day off and all the rides, the one where four of you were in a kind of cylinder and the boy opposite would be above you and then below and the sky every which way and your skirt doing heaven knows what, the smells of sawdust and cotton candy, and the freaks and animals and prizes for tossing little hoops at pegs that were bigger than they looked), a navy-blue-and-white outfit with a kicky blue pleated skirt and off-white satin jersey and blue buttonlessjacket with wide shoulders that always come back from the cleaner's with the padding askew or bent or tom loose, it's a terrible fashion as far as dry cleaning goes. The first time she posed for Harry in that suit he said it made her look like a little policeman – the shoulders and the piping on the pockets, she supposed, gave it the look of a uniform but it would do all day, she thinks, from having not to break down in saying goodbye to Nelson to taking this quiz with all the strange old terms in it, curtilage and messuage and socage and fee simple and fee tail and feoffee and copyhold and customary freehold and mortmain and devises and lex loci rei sitae. The little old elementary-school desks have been uprooted and taken away in favor of one-armed chairs of combination aluminum tubing and orange plastic, but the old blackboards are still there, gray with chalk dust rubbed in over the years, and the high windows you have to have a pole to raise and lower, and those high floating lights like flattened moons, like big hollow flowers upside down on their thin stems. Janice loves being back in class again, trying to follow the teacher and learn new things but also aware of the other students, their breathing and their feet scraping and the silent effort of their minds. The class is women three out of four and most younger than she but not all, to her relief she is not the oldest person in the class and not the dumbest either. The years with their heartbreak and working off and on over at the lot have taught her some things; she wishes her parents were alive to see her, sitting with these twenty-five others studying to get their licenses, the city sounds and Hispanic music and customized Hispanic cars revving their engines on Pine Street beyond the tall windows, sitting there with her notebooks and pencils and yellow highlighter (they didn't have those when she went to high school); but of course if they were alive she wouldn't be doing this, she wouldn't have the mental space. They were wonderful parents but had never trusted her to manage by herself, and her marrying Harry confirmed them in their distrust. She made bad decisions.

The teacher, Mr. Lister, is a doleful tall rumpled man with jowls that make him look like a dog. He gave her a B on the last quiz and likes her, she can tell. The other students, even the younger ones, like her too, and lend her cigarettes in the bathroom break at eightthirty and invite her to come out with them for a beer afterward at ten. She hasn't accepted yet but she might some night when things are more normal with Harry, just to show she's not stuck-up. At least she hasn't let herself go to fat like some of the women her age in the class – shocking, really, to see flesh piled up like that, and not doing anything to reduce, just carrying these hundreds of pounds back and forth and scarcely able to squeeze them into the desks. You wonder how long people can live like that. One of the few natural blessings God handed Janice was a tidy figure and that she has tried to keep, for Harry's sake as well as her own. He does seem prouder of her, the older they get. He looks at her sometimes as if she's just dropped down out of the moon.

Even with hurrying this morning, she gets caught in the slow traffic through the thick of the Brewer rush hour. All these cars, where are they going? By the side of the highway as it heads around the side of the mountain you can see erosion from last night's heavy rain – big twisted ditches of red clay washed away, weeds and all. At Joseph Street she parks and goes up the walk scared of what chaos she'll find, but Nelson is dressed in one of those putty-colored suits he has and Pru in brown slacks and a khaki-colored mannish shirt under a red cardigan sweater with the arms loosely knotted around her shoulders, an outfit to drive in. Both she and Nelson look pale and drawn; you can almost see the agitated psychic energy around their heads, like one of those manifestations Harry scoffs at on Unsolved Mysteries.

In the kitchen, showing Janice the special peanut-butter-and honey sandwich she has made just the way Roy likes it (otherwise he throws everything on the floor, even the TastyKake for dessert), Pru perhaps thinks the older woman notices something wrong in her manner and explains in a hurried low voice, "Nelson had some coke hidden around the house and thought we should use it up before he goes. It was too much even for him, so I did a few lines. I honestly don't know what he sees in it – it burned and I sneezed and then couldn't fall asleep but otherwise felt nothing. Nothing. I said to him, `If this is all it is I don't see any problem in giving it up,' I'd have a harder time giving up Hershey bars."

But just the fact that she is talking so much, confessing so freely, stroking the lank red hair back from her forehead with a caressing gesture of both hands, with trembling fingertips, indicates to Janice that there has been a chemical event. Her son is poisonous. Everything he touches. With all her maternal effort she's brought destruction into the world.

Nelson has stayed in the front room, sitting on the Barcalounger with Roy in his arms, murmuring to the boy and gently blowing to tickle his ear. He looks up at his mother with resentment written all over his face. He says to her, "You know why I'm doing this, don't you?"

"To save your own life," Janice tells him, lifting the child out of his lap. Roy is growing heavier by the day and she puts him down on his own legs. "Time you start making him walk," she explains to Nelson.

"Just like you're making me go to this stupid useless place," Nelson says. "I want that perfectly clear. I'm going because you're making me and not because I admit I have any problem."

A weight of weariness floods her, as if she is at the end and not the beginning of her day. "From what it seems you've done with the money, we all have a problem."

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