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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Now the pledges had been counted (not, it turned out, exclusively by Father McShane but by Father Melrose and Father Hecht, his assistants, as well, and by Mr. Marrs, an accountant, whose respect for privacy-Father McShane had assured them all-was as inviolate as any confessor’s), and through the power of prayer and (Father McShane said) good old-fashioned shoe leather, the initial goal had been more than met. But, he added (nerves or indigestion or simple displeasure caused him to precede all difficult announcements with a swallowed burp), there was an obstacle. Mr. Krause would not sell.

The architect’s design for the new gym and eighth-grade classrooms was a marvel of symmetry. There was the simple brick square of the old school building’s left side, updated by a wide glass door, then the new entrance to the new gym, a single-story swoop of steel and glass, then another, new brick square to balance the old.

A series of low white marble steps led from the gym’s modern entrance to a green lawn (Saint Gabriel himself, in white stone, at the center of it) that was bracketed by two curving white paths that led directly to the sidewalk and the street. Mr. Krause’s property, which consisted of a backyard, a small detached garage, and an eighty-year-old clapboard house out of which he had run a delicatessen for thirty-five years, began at the gym’s modern entrance and ran to the edge of the sidewalk. A year ago, when Father McShane first approached him, Mr. Krause had agreed that he was more than ready to sell. His was one of the last houses left along what had become a mostly commercial boulevard, and the last bit of frontage on a block that was equally divided between St. Gabriel’s Church and School on the one end and a small strip of stores on the other. A descendant of the Germans who had first farmed this land and established this village in the wilds of Long Island just east of Queens, Mr. Krause knew that the postwar sweep of homes and families had already obliterated most of the old traces of the last century, and that his little farmhouse was one of these. It was only a matter of time, he said.

He had been looking, as it happened, into moving the deli to a storefront in a new mall in the next town.

But buried in Father McShane’s pitch to pay Mr. Krause a handsome price for his house and his land was the bad seed of his own destruction-or so the priest told them. (John Keane sought to remember the parable.) “The parish is burgeoning,” Father McShane had said. The school was bursting at its seams. Mr. Krause was a Lutheran so he might not be fully aware, but Father McShane, in his pride and boastfulness (through my fault, he told the men) had assured him that eight Masses were offered every Sunday morning-seven, eight thirty, ten, and one-in the church and simultaneously in the auditorium, and still there were folks standing in the aisles. There were double shifts of kindergarten in the school, morning and afternoon, to accommodate all the children. Building the gym was only the first step. Once it was up and Masses could be held there on Sunday mornings, then the old church was coming down and a new, larger one would take its place. Father McShane was thinking of something “in the round” to suit the new liturgy.

But of course Mr. Krause knew the Mass schedule and the school schedule at St. Gabriel’s. Also the hours of the Mothers Club meetings and the Holy Name Society meetings, the basketball games, the first communions and confirmations. Father McShane said three, sometimes four Masses on Sunday mornings, but he had never once edged his way into Mr. Krause’s little store after any of them, never found himself pressed cheek to jowl with thirty other parishioners vying to order cold cuts or potato salad or those marvelous doughnuts from Mr. and Mrs. Krause, their two sons, and the daughter who worked the counter. He’d never reached an arm through the crowd outside to throw some coins into an open cigar box and grab a Sunday Daily News before they were all gone. Father McShane had forked boiled ham and rolled pieces of Swiss cheese onto paper plates, added a dab of good mustard and some coleslaw, snitched a green olive from the tray, in living rooms after funeral Masses or at backyard graduation parties, but he had never thought to note how these always came from Krause’s store.

The parish is burgeoning, he’d said, and no doubt Mr. Krause saw housewives holding wrapped trays of cold cuts high over their heads, like Copacabana chorus girls, as they maneuvered through the Sunday-morning crush. Husbands sent back to get a good-size container of rice pudding. He saw St. Gabriel’s kids in their uniforms coming in for sodas, for chips, for a quick perusal of the candy displayed beneath the counter, saw them handing their mother’s scribbled shopping list to him over the deli case, or ordering a bologna hero because there had been no time this morning for making lunches. And now added to that vision, thanks to Father McShane and his (he was the first to admit it) big mouth, bricklayers and electricians and plumbers and painters filling the place every lunchtime for however many years or months it took to build the gym and the eighth-grade classrooms, and then to tear down one church and put up another.

Mr. Krause understood that the old places were fading, the dairy farms and the potato fields and the clapboard houses of the last century, and nostalgia over the loss of a past that had never been his had made him momentarily lose sight of the present, and of the indisputable fact that there wasn’t a storefront anywhere on Long Island that could beat this location. When Father McShane returned with his generous offer and a copy of the architect’s drawing that graced the cover of each pledge form, Mr. Krause said simply that he’d be a fool to sell.

How, then, would they break ground in the spring?

From the far end of the priests’ dining room, Pope John XXIII, even in profile, looked benevolent and amused. The men on the building committee had wondered, only half joking, if they had to wait for his canonization before they could send the good old man their petitions or if they couldn’t start praying to him even now. With Mr. Krause’s store stubbornly in place there was only a sliver of street access available to the school-a narrow driveway, an alleyway, really, bordered by the cinder-block wall that divided the church parking lot where the bulk of the new building was to sit and the Dumpsters that served the small strip mall on the far corner. The design, the one printed on every pledge form the men had delivered and returned, displayed on a gold easel in the church vestibule and in Sister Rose’s office at the school, sent to the bishop, approved by the diocese, would have to be scrapped, utterly changed. Father McShane swallowed another burp. “None of these people,” he said, indicating the stacks of pledges, “will feel he’s gotten what he’s paid for.”

Is it too early, the men asked, only half joking, to pray to Pope John? Or would they have to wait till he was a saint? Wasn’t anyone in heaven more or less a saint?

If that’s the case, Mr. Marrs asked, does anyone here know any recently deceased architects?

The six men and the three priests and the accountant all turned their eyes to the living architect who stood above the plans that were spread across the dining-room table with his cheeks puffed out and his brow furrowed. Thus far he had donated his work, both time and material, with the hope that he would then be selected to design the new church, but he could not very well afford (he was considering the best way to say this) to do it all over again, gratis. He could offer them, he said, two options. He could turn the entrance around-he pretended to pick up the building with thumb and forefinger-put the back of the gym and the new classrooms to Mr. Krause’s backyard, but then the spanking-new entrance of steel and glass that Father McShane was so fond of would face only the cemetery.

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