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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It wasn’t that they’d found Pauline unlovable. The entire world of adult strangers was more or less unlovable, with their huge earlobes and their smoky breaths, their yellow teeth, their intrusions. It was only that the house was empty without their mother in it. Recognizable still in all its familiarity: the vestibule where they dropped their book bags and (at Pauline’s insistence) hung up their coats, the living room where the slipcover was newly dark, the cluttered dining room, the Formica counters in the kitchen, the Dutch Boy cookie jar, the worn carpet on the stairs, the sunlight through the windows of their bedroom which seemed always, from the time they woke until darkness fell, the sunlight of four thirty in the afternoon, all of it familiar but seen, for the first time, as it might look when it was empty, with none of them there. This both puzzled them (because all three of them were indeed there, and Pauline was there, and by nine o’clock each night when visiting hours at the hospital were over, their father was there) and filled them with despair, which was what made them tell their mother, once she had returned, the baby in her arms, that they hated Pauline. That they hoped they would never again be left in her care.

It wasn’t true, they hadn’t hated her at all (Jacob had struggled with the choice between “From” and “Love” on the card he drew for her; Michael had laughed heartily himself when Pauline said that Mr. MacLeod next door, who looked like he dyed his hair with Orange Crush, should lay off that piano and find someplace else to tinkle; Annie now had three different vials of perfume samples tucked in her sock drawer, courtesy of Pauline), but it was an explanation that lingered, a conviction they would share for the rest of their lives.

“You choose likable people to be your friends,” their mother said. She sat back from the table, the baby in her arms, and moved the prongs of her fork, the good silver, through the white icing. “And you have to love your family whether they’re likable or not.” She brought the icing to her lips. “But the people you have to feel sorry for are the ones without family. Unlikable people without family or friends. Who’s going to care about them?”

Gripped by their new conviction, the three children shook their heads. “Just don’t ever leave us with her again,” they said, emphatically, crying it out, not because it was what they truly felt but because it was the only, boisterous way they could demonstrate (other than this birthday party in the dining room, on a Sunday afternoon, with the good silver and the good china and the embroidered tablecloth) their joy at her return.

Their mother, the baby in her arms, held up the small silver fork-it was her wedding silver. In the midst of joy there was, there would always be, the injunction to remember the sorrowful. “You must be kind,” their mother said. “I know it’s not easy. Pauline’s not easy. But what would happen to her if there was no one willing to be kind?”

Later, recalling the homecoming, Annie would tell Michael that like the infant in a fairy tale, Clare’s fate, her future, at that moment, must have been sealed. Long after all of them had scattered, Jacob, Michael, Annie, their mother and father, scattered-as their parents would have said-to the four winds, Clare would have Pauline, still a royal pain in the ass, in her care.

III

Man is immortal, John Keane thought, or he is not. And if he is, there’s the whole question of whom you pray to. If he’s not, then prayer is wishful thinking.

You either pray to the dead or you don’t.

But the real question before them this winter evening, the six men on the building committee, the pastor, the two priests, the architect, the accountant, and the dead, beloved pope who still smiled at them in oil from the end of the rectory dining room, was far simpler: Could they break ground in the spring?

Like something out of a parable (The Good Servant? The Twelve Talents?) each of the six men had brought to the table this evening the stack of pledges they had garnered over the past six weeks from the people of the parish who had not responded voluntarily to the pastor’s initial appeal for funds. Two weeks into the New Year, when, they figured, the financial burden of Christmas might have just begun to ease, the six men had divided the more or less eight square miles of St. Gabriel’s parish into six sectors. After some rigorous debate, it had been decided that the men would not solicit from their own recalcitrant neighbors. (There was the matter of financial privacy, the threat of hard feelings among men whose children played together, whose wives might see each other every day.) John Keane had the names of thirty-three parishioners on his list, all of them more or less strangers-although he recognized many of the faces from church when they came to their doors to let him in. There was the phone call first: on behalf of Father McShane, I’d like to come by some evening to discuss the new church and gym. Then the appointment itself, usually scheduled between seven and eight so as not to interrupt anyone’s dinner. They were for the most part strangers, but kicking the snow off his heels or brushing the rain from his hat, he never once felt that he was stepping into their homes for the first time. They brought him to their dining-room tables, or to the kitchen. There were children in pajamas on the staircase or stretched across the living-room floor, or biting pencils over homework on whatever table their parents weren’t going to use. There were dogs, usually, pushed behind basement doors or banished to the garage. The smell of whatever had been made for dinner still in the air-garlic in the Italian homes and green pepper in the Polish, something fried among the Germans, broiled meat with the Irish. They offered him coffee or tea, sometimes sherry or a beer. The wives, for the most part, hung up his coat and put down the plate of cookies and then disappeared-or lingered only long enough to admire the architect’s drawing on the front of the pledge packet. (Only the more observant asked, “Where’s Krause’s store?” Only the more prescient shook their heads skeptically when he said Krause had agreed to sell his property to the church.) He’d hear them walking around upstairs as he made his pitch to the man of the house, heard the vague repetition of spelling words or dates or catechism lessons as the men’s conversations moved, inevitably, away from the financing of the new church and gym to the war, what service, what theater, what division, what years.

John Keane was older than most of the men by a decade. None of them asked him to call them by their first names, nor did he. The formality-he wore a suit and a topcoat to every call-seemed appropriate for the transaction he was there to discuss. The wives appeared again only when he rose to leave. They stood beside their husbands as the men shook hands. He would return in a week to pick up the sealed envelope, for Father McShane’s eyes only. They were aiming for one hundred percent participation. In the mimeographed letter inside the packet Father McShane had asked only for “prayerful discernment” regarding what each family could afford to contribute. The men were impossible to read, but the wives’ eyes told him everything-they were eager or wary or resigned, those of them who still loved their husbands, or their lives. Others showed him the battle already brewing, or, far worse, an amused conviction that Mr. Keane had not seen through them, through their guise of good parents, good Catholics, of domestic harmony or financial stability. In every case, he had the sense when he left the house that he had at least given the family by his presence alone the gift of a single, hushed hour of quiet civility, good behavior. It was, perhaps, as close as he would ever come to feeling like a priest.

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