Alice McDermott - After This

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After This: краткое содержание, описание и аннотация

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OVER the course of her five previous novels, Alice McDermott has staked an impressive claim on a subject matter and a turf – Irish-American Catholic families congregated, for the most part, in New York City and its suburbs on Long Island. The Irish have, of course, long been a significant presence in American fiction, appearing well before the mass immigration of the late 19th century (think of "Huckleberry Finn"), and the novels, notably, of William Kennedy attest to the subject's continuing strength. McDermott adds her own luster to this seemingly familiar community through her skill at evoking small, memorable incidents and her willingness to ignore certain narrative conventions.
Most fictional family sagas contain a lot of what could be called plain reporting: answers to the questions (who? what? when? where? why?) that are the basic stuff of journalism. But in her family dramas, McDermott has largely refused to provide a helpful framework of dates, genealogies or factual background. Instead, she has focused on the shifting inner lives of her characters, confident that God – or the larger picture – will be found in the details.
The opening of her latest novel, "After This," demonstrates McDermott's technique at its most elliptical and effective. On a blustery April day in Midtown Manhattan, Mary (no last name given) leaves a church (almost certainly St. Patrick's Cathedral) after lighting a candle, as she has done throughout the war, even though the fighting is over. (Since the war in question is clearly World War II, the action must take place, at the earliest, in the spring of 1946). Mary has also prayed: "She was 30, with no husband in sight. A good job, an aging father, a bachelor brother, a few nice friends. At least, she had asked – so humbly, so earnestly, so seriously – let me be content." Outside the church, squinting in the sunlight, Mary meets a friend of her brother's, who unexpectedly asks her to dinner. "At a restaurant," he explains, when she seems confused. "The two of us." Mary agrees, they part, and she goes into Schrafft's for what's left of her lunch hour.
At the counter she exchanges small talk about the weather with a man seated next to her. "Reminds me of some days we had overseas," he says, standing up to pay his bill. Mary watches him walk away: "And here, of all things, was desire again. (She could have put the palm of her hand to the front of his white shirt.)" Mary returns to her office and later goes home to a walk-up apartment in an unnamed borough to prepare lamb chops for her father and brother before her dinner date, which passes pleasantly and ends with a chaste kiss. The next day, when she returns to Schrafft's, the man she met the day before is waiting outside. Reader, she marries him.
This sequence could stand alone as a classic short story in the Joycean, epiphanic mode: an accretion of humdrum moments that gather force and blossom into the transfiguration of a life. Yet such stories seldom cry out for a sequel – does anyone want to know what Gabriel and Gretta Conroy said to each other the morning after "The Dead" concludes? – and McDermott's deft, delicate beginning is a hard act to follow. Mary, so vivid in her first appearance, rapidly fades into careworn motherhood. Fewer than a dozen pages later, she and her husband, John Keane, are taking a rare break from Sunday Mass at a Long Island beach, deserted after the Labor Day weekend, with their three children. John seems stunned by his responsibilities; Mary's pregnancy will only add to them. A hurricane is beginning to churn up the Eastern Seaboard, and the stinging, wind-borne sand drives the family back home. That night, a tree in the Keanes' yard is blown over. The next morning, a neighbor with a chain saw, who also happens to be a registered nurse, appears just in time to help Mary deliver her baby.
Once this hectic episode concludes, McDermott's narrative turns episodic and digressive, and "After This" begins to resemble a photo album with many missing snapshots and pages. Here is John serving on the building committee of St. Gabriel's Parish, helping raise money for a new church and gym. Over there are Mary and her daughter standing in line to see Michelangelo's Pietà in the Vatican pavillion at the 1964 World's Fair. (McDermott, characteristically, omits the 1964 part, leaving that for her readers to deduce.) Here we see the neighbor's teenage daughter going into Manhattan for an abortion, accompanied by the older of the two Keane daughters, who reads "A Farewell to Arms" in the waiting room. And up ahead, Pauline, Mary's old friend from her office days and the Keane family's honorary spinster aunt, is injured in a fall. Strangely, Pauline's mishap and its aftereffects receive far more attention than the major tragedy that befalls Mary and John, registered almost subliminally and barely referred to again.
Each of the Keane children shines briefly before disappearing. Shy, awkward Jacob drops out of St. John's after a year of poor grades and draws an unlucky lottery number for the Vietnam draft. Michael, charming and irreverent, spends most of his time at his upstate college in a seedy saloon. Annie, the bookish child (inspired by one of Pauline's visits to escape into a Faulkner novel while thinking about "the odor of aging female flesh"), goes to study in England and changes her plans because of a young man she meets on a bus. Clare, devoted youngest child and just as devoted Catholic, nonetheless finds a way to break her parents' hearts.
This assembly of splintered stories suggests that McDermott, like Virginia Woolf in "The Waves," has come to care less about her individual characters than about the unseen forces – fate, the zeitgeist, the inexorable progress of time – that shape and trace the patterns of their lives. With no warning or explanation, she provides capsule previews of the deaths of two family members that are jarring not just because they deflate suspense but because they suggest that it's futile to invest much interest in these characters.
Late in the novel, Clare Keane, having finally found a boyfriend during the long summer vacation, returns to her Catholic high school displaying new aplomb and self-confidence: "Of course of course, the teachers, even the nuns told each other, indulgent and naïve. Those who had been at the school when Annie was a student said, with a shrug, Life goes on." And that seems to be the burden and the message of "After This." Life does, irrefutably, go on. But if that's all there is to say about the matter, why bother with art and stories, which defy the limits of birth and death by trying to immortalize the interesting things that happen in between? For all its page-by-page brilliance, "After This" leaves that question hanging.

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Impulsively, Mr. Persichetti called out his son’s name, foiling an ambush (at the sound of the man’s voice, Michael Keane’s head appeared on the other side of the upended roots). He said it was time to go. The response was all in the boy’s shoulders and arms-a slow sinking. Two more boys, also in helmets, emerged from the leaves, their indignation at being called from the game tempered only by the sight of Tony’s father on the steps in his work pants and T-shirt. He was a broad, short man with muscular arms. “It’s early,” his son called back, squinting. And it was the squinting, the openmouthed squinting and the hint of contradiction in his son’s voice that turned what had been mere impulse on his father’s part into command. It was early, another two hours before dinner, and there was certainly no need for him to drive Tony home-he hadn’t driven him here-but still he said, “Get in the truck,” and bent his powerful arm. He was a night nurse at Creedmoor, the state hospital, and what he had seen there, the patients he had hauled and handled-the vibration of mad voices he had felt through bodies pressed into his arms, held against his cheek and his chest-made him quick to raise his hand to his own lucky child, smart as a whip and perfectly formed.

Tony bent his head to remove the borrowed helmet. Mournfully, he handed the helmet and the pistol to Jacob. His father went down the steps and joined him at the curb. He guided Tony to the truck with his hand on the back of his son’s neck.

(“Shoot him in the foot,” Mr. Persichetti would tell Mr. Keane, years later, when Tony had already returned from the war and Jacob had drawn a bad number. “Break his legs before you let him go.”)

The truck turned and headed down the street. The boys shook off the disruption and went back to their game. Mary Keane, returning to the house, her hand under her heavy belly, the baby, as far as she could tell, sound asleep within, wondered why it was that the Persichettis had only the two, Tony and little Susan, who was Annie’s age. She felt with some certainty that it would have been to Tony’s advantage if they’d had at least one other son. (She had in mind the man’s strong hand on the back of the boy’s neck.) It benefited a child, she thought, to be forgotten once in a while. Lost in the shuffle (she would have said), benignly neglected. It reminded them they were not the center of the universe simply because they were loved by their parents. How many children, when you came right down to it (she would have said), were not loved by their parents? Never mind if the love was skillful or adept.

She picked up Jacob’s school jacket and the box of toy soldiers that had been left on the floor of the hall, but the effort sent a pain up her back-like a crack through plaster-and drained the blood from her head. She leaned heavily against the front door, put her hand on the doorknob and although her husband had said nothing of his vision of the black coach wet with rain, she caught a glimpse of it herself in that second between the moment she closed her eyes and the next one when she began a Hail Mary. The amniotic fluid was like something sun-warmed against her leg. It quickly soaked her terry-cloth slipper and then pooled on the linoleum at her feet. Her heel skidded in it a little as she slowly let go of the doorknob and carefully-a reluctant skater on a pond-got herself across the hallway, onto the living-room carpet, and across the living room, a slug’s trail of dark water behind her, and onto the couch. She still held Jacob’s coat in her hand and she threw it over the cushions before she eased herself down, praying all the while the formal prayer that held off both hope and dread, as well as any speculation about what to do next. She must have said a dozen of them-it only occurred to her after about the seventh or eighth that she should have been counting them off on her fingers-when the first cramp seized her and then she threw the prayers aside as if they had been vain attempts to speak in her high-school French. Oh look, she said. Don’t let this happen. Come on. Be reasonable.

Long before the fireman pounded at the door (or was it an angel, or a banshee, or the ghost of the other Jacob?), she had listened to the rise and fall of the wind outside. Long before her husband had woken and asked her, Who could that be? she had seen-in the silent anticipation between each long gust, in the fear that rose as the sound grew more terrible each time, as if edging toward something unbearable-the parallel between the rise and fall of the storm and the rhythm of labor. Now, as the labor began, it was the storm she recalled. The thrash of wind and trees and the quiet terror that had kept her flat in her bed, wide awake, anticipating disaster but unable to rise to avert it-or to shake her husband, to call for help. There was only silence now, in the small living room. There was a baby doll and a stack of comic books in one of the chairs, a Wiffle ball beneath it. The boys’ board game with its scattered pieces was still on the rug, and there was a pale layer of dust over the hi-fi and the end tables. She wondered if the pregnancy had turned her slothful or if the room was always in some state of disorder and she was only, momentarily, seeing it clearly. Vaguely, she could hear the voices of the children in the side yard, climbing through the downed tree. It seemed to her (the pain rising again, third time) that they were not so much calling words as shining small silver lights into her ears. The gentle flash of a child’s voice-was it Jacob?-appearing here and there through the more general silence and the nausea of the clutching pain.

The phone was in the kitchen, and when she got herself up she would call her husband first, in his office. And then the operator to send an ambulance. And then one of the neighbors to come and watch the children. And then Pauline, who had promised to stay with the children when the time came, although time was supposed to have been still another month away and Pauline would sigh at the inconvenience, the altered plans. And this poor baby, so eager to be born, would emerge from the womb with unhappy Pauline ready to recount, on birthdays, at the birth of other children, at any of the innumerable occasions in her life when she was once again forced to abandon her plans, how she had just powdered her nose and put on her hat when the phone call came.

The fourth contraction seized her and suddenly she was perspiring. She heard herself cry out and then she heard the children’s voices like sparks struck from her own. And then heard a man call “Hello,” the single word across what seemed a great distance. Calmly, because the pain was once again subsiding (she recalled the rhythm of the hurricane), she turned her head toward the vestibule. It was simply what you did: you made conversation in elevators, complimented small children in strollers, looked up from your magazine to greet the stranger who took the seat beside you on a bus. You said, with simple friendliness, That’s a lovely hat, or Isn’t it cold?-because it was another way of saying here we are, all of us, more or less in the same boat. It was the habit of friendliness, a lifetime of it. Mary Keane smiled. Her dress and her son’s jacket and the slipcover on the couch beneath her were soaked and the next contraction was already gathering strength in the small of her back. Mary Keane smiled politely as Mr. Persichetti poked his head around the door to the vestibule and said, “Hello.”

He took her hand and then her pulse. He put his broad palm on her forehead and then took her hand again as her face flushed and she drew her legs up against the pain. He had returned to say the Krafts down the street had an apple tree split in two that he was planning to remove at noon tomorrow (Mr. Kraft was a teacher and since the schools were closed he was there to answer his door and to engage Mr. Persichetti on the spot). He’d come back to say he could easily toss both the willow and the apple tree into his truck, and so charge her only fifteen.

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