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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“The Krafts,” he told her, “down the street.”

“The Krafts lost a tree as well,” she said, shifting uncomfortably. “Lucky for me.”

And then she breathed another “Mother of God.”

His T-shirt was soaked all across the middle. There was now the salty scent of her perspiration, and his, and the scent of blood. Her bare knee touched the side of his face. He saw the baby’s dark scalp, streaks of hair. She cried out and he was aware, too, of the sound of the ambulance somewhere. He raised the volume of his own voice, a string of reassurances against his own fear that the baby would not survive. Skull and forehead and closed eyes streaked with blood. He reached for the turkey baster, cleared the mouth even as he tugged, gently, at the head in his hands. The shoulders and arms and the surprising burst of the pale blue umbilical cord, thick and writhing, and then the baby was in his hands-”A little girl,” he told her-and the medics, the ambulance guys were in the room behind him, around him, a knee against his back as someone said, “Step aside,” and leaned down to take the little thing from him. The baby’s mouth opened and two fists went up in fury. And then it cried, but so thinly.

But of course, he couldn’t step. He discovered that he was kneeling at her side. He merely sat back on his bottom and then crawled a bit, avoiding their shoes. Someone was opening a medical bag and a stretcher was coming through the front door. He blessed himself and then said, “I’m in medicine, an RN,” lest they think him a fool. Then he leaned his back against a chair.

As they were hustling her and the child out the door (where the children from the tree had already gathered) he said to one of the medics, “Six weeks premature.” The guy shook his head. He had a crew cut and a broad face and his white coat buttoned across the shoulder. “That baby’s full-term,” he said. “Seven pounds at least.” Mr. Persichetti shrugged, rather nonchalantly, among men once more. “She said she had six more weeks.”

And the man shrugged, too, as if to confirm how well they both understood, being in the profession, that it was all a small matter, this coming into life and going out, merely part of the routine. “She can’t count,” he said bluntly.

And then he laughed. He paused in the tiny hallway, put his elbow to Mr. Persichetti’s strong arm. “My wife always knows exactly,” he said. There was a bit of tobacco on his wet lip. “But that’s probably because she only lets me do it twice a year, Valentine’s and my birthday, so it’s not hard to figure.” He stepped out the door and then turned to say, “I got two kids born in November, two in June. No kidding.”

The children gathered along the driveway briefly looked away from the ambulance as the man went down the steps, shouting back to Mr. Persichetti. “This guy,” he said, pointing at the house, “is a lucky man, if she don’t know if it’s been nine months or seven.” Mr. Persichetti raised a hand, agreeing, nodding and laughing, but also saying under his breath, Get going, get going. He would not rest easily until he was sure she was in a doctor’s care. Then he noticed her boys. They were standing side by side at the edge of the driveway, their plastic guns still in their hands and their faces pale and forlorn beneath the toy helmets, his own Tony, God bless him, with a comforting arm around each.

Carefully, dipping carefully-the broad backside in the good wool skirt-Pauline reached into the car and took the infant from Mary Keane’s arms. There was the pink receiving blanket, the long white shawl, the lace bib of her homecoming dress. Pauline stepped back, onto the grass that lined the driveway, the baby in her arms.

Mary said, “Where’s her bonnet?” and then searched the floor, looking for it. Her husband was coming around the car to help her get out. Pauline held the baby in her arms, dipped her large, powdered face closer to its own, her eyes taking in, there on the grass at the side of the driveway, the cashmere shawl (her own gift, from Saks), the receiving blanket, the tiny body, the little face. Slowly, Pauline raised her left hand and cupped it over the child’s skull to keep her warm. The sun was high but there was a clean chill in the air. The smell of autumn, and of the sawdust left behind from the fallen tree. She held the baby against her chest and raised her elbow to bring the small sleeping face nearer her own.

“Here it is,” Mary said, lifting the bonnet from the floor.

Inside, the children were waiting around the dining-room table with their homemade cards and the frosted birthday cake their father had brought from the bakery this morning. Inside, Pauline’s overnight bag was packed and waiting in the vestibule. As Mary, carrying the new baby, preceded her into the house, Pauline slipped her jacket from the hall closet and lifted the bag, even as the three children gathered around their mother. She simply walked out again, through the front door. She went down the steps. She raised her hand without turning when they called after her. She raised her hand without turning as John Keane followed her down the steps to say, “At least let me give you a lift to the bus stop.”

“Go back to your new family,” she said without turning. “This is a precious moment. There shouldn’t be any strangers at this homecoming.” Meaning it, every word of it, but not turning to see how thoroughly her sudden departure had disrupted the homecoming anyway, how the children had looked away from their mother and the new baby to stare after her, how John Keane had looked back to his wife, their new daughter in her arms, to shrug, to show her his annoyance. The woman drove him crazy.

Without turning, Pauline walked with her bag the three blocks to the bus stop, then changed at Jamaica for the bus home.

At her building, she struggled with the six days of mail shoved every which way into her box (she’d had no time, when the call came, to leave her mailbox key with her neighbor), bills and advertising circulars and bank statements and a mailman who would probably keep pushing mail into her box even if she was gone for six months, dead for a year-only one of the phalanx of indifferent strangers she faced every day.

Upstairs in her apartment she unpacked her bag-two house-dresses in polished cotton and a floral housecoat, another good skirt and sweater and the underwear, girdle, and stockings she’d have to wash out in the sink this evening. In the bottom of the bag, beneath her makeup case and her slippers, the card Jacob had drawn for her-a vase with six spindly flowers: a purple tulip, what seemed to be a red rose, and four simple daisies (she guessed that the success with the tulip had inspired the rose and the failure of the rose had led to the safer daisies). Inside the folded piece of blue construction paper he had written only, in careful cursive, From Jacob.

Although she preferred Michael, whose distrust of anything placid echoed her own, she put the card on her dresser.

Moving into her small kitchen, Pauline went through the refrigerator, tossing out the milk and the sliced ham she had not had time to dispose of last week, when the call came that the baby had arrived early and they were on their way to the hospital. A minute later and they would have missed her, she told John Keane, when the call came. She had just powdered her nose and put on her hat.

She rode the elevator down again to shop briefly-it was Sunday and the stores closed early-for what she needed: milk and eggs and bread and margarine. She told the lady at the deli where she ordered her ham that it had not been a vacation by any means: three children to look after and a much neglected house to clean. The lady at the counter-Maria, in housecoat and worn slippers and swollen ankles-called her some good friend to do all that and Pauline said, “Oh, but the baby is beautiful,” a kind of reprimand, as if it had been Maria herself who had complained so ungenerously about the dirty house.

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