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 grocery bag was light enough but still her back ached and her legs were tired. She had slept fitfully all week in little Annie’s bedroom, wall to wall with stuffed animals that the child never played with and that Pauline would have donated to an orphanage, had the choice been hers. And the little girl had cried herself to sleep in her brother’s bedroom every night, lonesome for her mother. And that little Italian man in the side yard two days in a row, with his chain saw and his hatchet, clearing the fallen tree. Standing too close to her, Pauline felt certain, when he came into the kitchen for a glass of water.

The sparse trees along her block were showing signs of red and gold but there was also the smell of dog droppings and bus fumes and sun-warmed garbage in the air, which you didn’t have out on Long Island. And the Empire State Building across the river was useless, a painted backdrop at this hour on a Sunday, its offices empty, its very reason for being temporarily drained. Her company’s own building, her empty office within, not three blocks away. Home again, she changed into another housecoat, the red velvet one she had made for herself last Christmas, the covered buttons she’d found at A amp;S a satisfying perfect match. She boiled an egg for dinner. Mixed a Manhattan to sip with Walter Cronkite. She answered the phone only the second time it rang, Mary calling to say I wish you hadn’t run off (but not meaning it) and that the house has never been so clean (no kidding) and what did you put in your mashed potatoes that made the kids love them so (a little sugar and a little garlic salt, but Pauline wouldn’t tell).

Darkness had come down on the city by then, the lights in all the buildings had come up. With the phone still to her ear, Pauline dipped her head to notice through her own blinds that the couple across the street was having takeout Chinese again, in their kitchen. They were most likely newlyweds, only in the apartment for a few months. Pauline knew it did not bode well that the young bride never cooked.

“And you cleaned up that slipcover so beautifully,” Mary Keane said.

The little Italian man had pulled the slipcover off the couch, bundled it together with the tea towels and the jacket and brought it all to the washing machine in the basement, but Pauline had done the scrubbing and the bleaching and the dyeing. Pauline had restored order after the ordeal of the birth. She had swallowed her revulsion-what a mess it had made-restored order, made things right for the homecoming.

“And how’s my angel?” Pauline asked.

“At the moment,” Mary said, “she is sound asleep on Jacob’s lap.”

Her own hunger to hold the baby again struck her as just that, a hunger-the ache of hollow longing, an awareness, as if for the first time in her life, of her own arms being empty.

“I wanted to give you some time with your new family,” Pauline said, and meant it-although she couldn’t say, too, that she had not meant to disrupt the homecoming with her own dramatic departure. Nor could she deny that she’d wanted both: the thoroughly self-effacing departure and the attention such generous self-effacement surely earned her. She’d wanted to give the family their time together, but she’d wanted as well a more vigorous pursuit, after all she’d done. It wouldn’t have taken much, after all, for John Keane to have wrestled the overnight case from her hand.

“Kiss her for me,” she said and hung up the phone and faced the most terrible hours of any week, made worse now by the days she had spent in the busy household: the hours after sunset on a Sunday night, all her own usefulness temporarily extinguished, and the terror that good clothes, perfect stitches, the pursuit of just the right buttons usually kept at bay edging closer to the surface of things-the yellow light on the polished table, the black night through the slatted blinds, someone laughing at her out in the street. In another few years this terror would catch her by the throat, but tonight she would have another Manhattan with Ed Sullivan. Rinse out her clothes and brush down tomorrow’s suit and iron a blouse. Put on her nightgown and get into bed. There were worse things than this tinny loneliness, these last hours of a Sunday evening. Nice as he’d tried to be-he’d come home from the hospital each evening to put the children to bed, and thanked her profusely each morning for the coffee and toast she put before him, he’d gotten the children ready for church without waking her this morning-she would not want to be married to balding John Keane for all the tea in China. She’d heard him singing to himself in the bathroom, for instance, fiat as a tire. Heard him clipping his toenails one night before he went to bed.

She recognized the simple pleasure of her own room and her own pillow and no child weeping for her mother across the hall, the boys whispering words of comfort but not thinking to call on Pauline for help.

In the morning there was the rattle of traffic and the wheeze of buses, the rising voice of the radio, the whistle of a teakettle. The slatted sunlight, as it did this time of year, moved across her bed and her quilted housecoat and her dresser and onto the construction-paper card that Jacob had made so that later when Clare (who last night had slept soundly in her brother’s arms) lifted it to read the simple message, she would not be able to say if the front of the card had once been gray or blue, only that her brother had used a ballpoint pen and had pressed so firmly into the soft paper that she could feel the shape of the letters in relief on the back.

During the war, their mother lit a candle for the boys on her lunch hour, at St. Agnes or up at St. Patrick’s, and of course Pauline knew she did this without anyone ever having to tell her so, and although Pauline was estranged from the church-it had to do with something some nun had said-she nevertheless began to tag along. And how could you pray with any sincerity if you were preoccupied with the thought of avoiding lunch with the lonely and annoying girl who was impatiently waiting for your prayers to be over?

If you love me, Jesus said, feed my lambs.

They were at the dining-room table, eating the frosted cake their father had bought at the bakery to celebrate the baby’s homecoming.

During the war, Pauline’s mother passed away and there were really only a handful of people at the funeral-four of them girls from the office. Pauline sat alone on one side of the church and her brother and his family on the other. None of the dates Pauline had, many of which their mother herself had arranged, led anywhere at all.

It’s easy, their mother said, to love the lovable. There’s no virtue in that.

They were using the good china and the embroidered table linen. Milk had been poured into cocktail glasses. The woman at the bakery had written “Welcome Home, Clare” on the white cake. Annie had cried herself to sleep every night that her mother was gone, in full misery the first night, in anticipation, on all subsequent nights, of her brothers’ sweet solicitation as they climbed onto the cot with her and said kindly in the dark, without teasing, that their mother would be home soon, with a new sister for her to play with, and she shouldn’t cry.

Michael had thought himself indifferent to the new arrangements-Pauline, not his mother, there to greet him with her big, powdered face when he got home from school (and making him hang up his jacket and pick up his games), Pauline there at the dinner table with them, urging them to take more of everything they didn’t want and laughing only (but with real delight) when he said his teacher didn’t have a mustache but a nunstache, Pauline sitting behind him in the living room as he did his homework on his lap with the television on, asking every minute or so, “Doesn’t the TV distract you, doesn’t the TV keep you from concentrating?” He’d thought himself indifferent to it all until his mother came through the front door, the new baby in her arms, and he knew for the first time that he’d hated every minute of Pauline’s reign. As had Jacob, although Jacob had known this to be true throughout the ordeal.

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