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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He smells not only her cigarette smoke but her femininity, the faint department-store sweetness that clings to women, in the lotions they use, the shampoo. "It's cozy," he says, and moves his legs so she can sit on the bed.

"I bet you were asleep," Pru says. "I'll only stay for this cigarette. I just need a little adult company." She inhales like a man, deep, so the smoke comes out thin in a double jet from her mouth and nostrils, and keeps coming for several breaths. "I hope putting the kids down with Nelson gone isn't such a nightmare every night. They need so much reassurance."

"I thought he wasn't here a lot of nights."

"This time of night he usually was. The action over at the LaidBack doesn't begin until around ten. He'd come home from work, eat, be with the kids, and then get restless. I honestly think most nights he didn't plan to go out for a couple hits again, it just came over him and he couldn't help himself." She takes another drag. He hears her intake, like a sigh with several levels, and remembers how it was, to smoke. It was creating out of air an extension of yourself. "With the kids, he was helpful. However much of a shit he was to everybody else, he wasn't a bad father. Isn't. I shouldn't talk about him as if he's dead."

He asks her, "What time is it, anyway?"

"Quarter after nine or so."

Janice would get back at ten-thirty at the earliest. There was plenty of time to see this through. He relaxes back into his pillows. Good he had that nap this afternoon. "Is that how you see it?" he asks. "He was a shit to you?"

"Absolutely. Terrible. Out all night doing God knows what, then this snivelling and begging for forgiveness afterwards. I hated that worse than the chasing; my father was a boozer and a chaser, but then he wouldn't whine to Mom about it, he'd at least let her do the whining. This immature dependence of Nelson's was totally outside my experience."

Her cigarette tip glows. A distant concussion of thunder steps closer. Pru's presence here feels hot in Harry's mind, she is awkwardly big and all sharp angles in the sac of his consciousness. Her talk seems angular and tough, the gritty Akron toughness overlaid with a dismissive vocabulary learned from professional copers. He doesn't like hearing his son called immature. "You knew him for some time out at Kent," he points out, almost hostilely. "You knew what you were taking on."

"Harry, I didn't," she says, and the cigarette tip loops through an agitated arc. "I thought he'd grow, I never dreamed how enmeshed he was, with you two. He's still trying to work out what you two did to him, as if you were the only parents in the world who didn't keep wiping their kid's ass until he was thirty. I tell him: Get real, Nelson. Lousy parents are par for the course. My God. Nothing's ideal. Then he gets sore and tells me what a cold fish I am. He means sex. A thing that goes fast with coke is shame; these women that are hooked will do anything. I say to him, You're not going to give me AIDS from one of your coke whores. So he goes out again. It's a vicious circle. It's been going on for years."

"How many years, would you say?"

When she shrugs her shoulders, Ma's old bed shakes. "More than you'd think. That crowd around Slim was always doing pot and uppers – gays don't give a damn, they have all this money only for themselves. Maybe two years ago Nelson became a big enough user on his own to need to steal. At first he just stole from us, money that should have gone into the house and stuff, and then he started stealing from you – the company. I hope you send him to jail, I really do." She has been cupping her hand beneath the cigarette, to catch the ash, and now she looks around for an ashtray and sees none and finally flips the butt toward the window, where it sparks against the screen and sizzles out on the wet sill. Her voice is hoarsening and finding a certain swing, a welling up. "I have no use for him any more. I'm scared to fuck him, I'm scared to be legally associated with him. I've wasted my life. You don't know what it's like. You're a man, you're free, you can do what you want in life, until you're sixty at least you're a buyer. A woman's a seller. She has to be. And she better not haggle too long. I'm thirty-three. I've had my shot, Harry. I wasted it on Nelson. I had my little hand of cards and played them and now I'm folded, I'm through. My husband hates me and I hate him and we don't even have any money to split up! I'm scared – so scared. And my kids are scared, too. I'm trash and they're trash and they know it."

"Hey, hey," he has to say. "Come on. Nobody's trash." But even as he says it he knows this is an old-fashioned idea he would have trouble defending. We're all trash, really. Without God to lift us up and make us into angels we're all trash.

Her sobbing is shaking the bed so badly that in his delicate postop state he feels queasy. To quiet her big body he reaches out and pulls her toward him. As if expecting his touch, she huddles tightly, though a blanket and a sheet are between them, and continues sobbing in a bitter, lower register, her breath hot on his chest, where a pajama button has come undone. His chest. They want to carve it up. "At least you're healthy," he tells her. "Me, all they need to do is nail down the coffin lid. I can't run, I can't fuck, I can't eat anything I like, I know damn well they're going to talk me into a bypass. You're scared? You're still young. You've got lots of cards still. Think of how scared I feel."

In his arms Pru says in a voice gone calm again, "People have bypass operations all the time now."

"Yeah, easy for you to say. Like me telling you people are married to shits all the time. Or you telling me people have their kids turn out to be dope-addict embezzlers all the time."

A small laugh. A flash of light outside and, after some seconds, thunder. Both listen. She asks, "Does Janice say you can't fuck?"

"We don't talk about it. We just don't do it much lately. There's been too much else going on."

"What did your doctor say?"

"I forget. My cardiologist's about Nelson's age, we were all too shy to go into it."

Pru sniffs and says, "I hate my life." She seems to him to be unnaturally still, like a rabbit in oncoming headlights.

He lets the hand of the arm around her broad back move up across the bumps of the quilted robe and enter the silken cave at the nape of her neck, to toy with the warm hair there. "I know the feeling," he says, content to toy, aware through the length of his body of a cottony sleepiness waiting to claim him.

She tells him, "You were one of the things I liked about Nelson. Maybe I thought Nelson would grow into somebody like you."

"Maybe he did. You don't get to see what a bastard I can be."

"I can imagine," she says. "But people provoke you."

He goes on, "I see a lot of myself in the kid." The nape of her neck tingles under his fingers, the soft hairs rising to his electricity. "I'm glad you're letting your hair grow long," he says.

"It gets too long." Her hand has come to rest on his bare chest, where the button is unbuttoned. He pictures her hands with their pink-knuckled vulnerable raw look. She is left-handed, he remembers. The oddity of this excites him further. Not waiting too long to think about it, he with his free hand lifts hers from his chest and places it lower, where an erection has surprisingly sprouted from his half-shaved groin. His gesture has the pre-sexual quality of one child sharing with another an interesting discovery – a stone that moves, or a remarkably thick-bodied butterfly. The eyes widen in the dim face inches from his on the pillow. Tiny points of light are caught in her lashes. He lets his face drift, on the tide of blood risen within him, across those inches to set their mouths together, carefully testing for the angle, while her fingers caress him in a rhythm slower than that of his thudding heart. As the space narrows to nothing he is watchful of his heart, his accomplice in sin. Their kiss tastes to him of the fish she so nicely prepared, its lemon and chives, and of asparagus.

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