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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“Unacceptable,” the pastor said.

Or-he moved the building again-he could turn it to the side, facing the alleyway and the cinder-block wall. Goodbye green lawn, but the white statue of Saint Gabriel might easily be moved into the lobby. And the alleyway, at least, could accommodate a car or a truck or a school bus that needed, for whatever reason, to pull up to the front door. It was a compromise no doubt, the architect said. Not nearly as grand as the original, but they could break ground in the spring and have the gym going in a year’s time. Which meant the new church could get started and it was the new church, after all, that would be the showpiece.

“It seems a shame,” Father McShane said, “that one man’s intransigence will leave generations of St. Gabriel’s students in an alley.”

Collectively, the men bowed their heads and considered this.

The six men on the building committee had jobs that only vaguely qualified them for the task-Mr. Keeley was an electrician, Bill Schultz managed a bank, Mr. Kozlosky sold insurance, both Mr. Keane and Mr. Battle were with the telephone company, Lou Pintaro owned a garden center-but each of them was happy to concede the point when the architect replied that a man had to make a living and provide for his family, first and foremost, come what may. No one could blame Mr. Krause for that.

It was late. No one could blame the men for wanting this business to be concluded. They had work tomorrow. They were missing Bonanza. Mrs. Arnold was waiting in the kitchen to clear away the coffee cups and get home herself. Father McShane folded his arms across his chest. He called the men by their first names, Robert? Bill? Jerry? John? Larry? Lou? And one by one they all agreed. It was not ideal, but it was a solution. With Mr. Krause dug in like this, there weren’t many alternatives. Mr. Marrs said, “Those Krauts do dig in,” and the men laughed, pushing back their chairs. The matter was settled. The new church, then, would be the showpiece.

In the cold black sky over the rectory parking lot, there was Orion, as he’d always been. And always would be. Jacob had drawn the constellation once and labeled it “O’Ryan.” At dinner tonight, Michael had announced that a kid in school asked if Jacob was a Jew. Michael thought this was very funny. Jacob had brushed it aside. So what, he’d said. Jesus was a Jew. There was something rehearsed in the boy’s reply. John Keane wondered if one of the nuns hadn’t provided it to him, against another kid’s teasing. Across the dinner table, his wife had bowed her head, more effective than catching his eye. Fourteen years was no time at all in the life of an I told you so.

Mr. Keane got into his cold car. Let the engine run a bit. The other men were pulling out of the drive and he saluted them as they drove past. They had done the work of their church. Solved the question of Mr. Krause. At home, there would be a light left on in the kitchen for them, or a lamp lit in the living room. A wife under a caftan, watching TV, or in bed, asleep already, or pretending to be. The scent of dinner still in the air. A child (probably Michael, but maybe even Clare) still awake. Some of them might open a beer or pour two fingers of scotch. Or walk the dog. Read the paper.

They were either immortal, or they were not. It was prayer, all of it, this talking to the dead, or it was howling at the moon. At the winter sky. At Orion. O’Ryan. It was another bit of misapprehension, another mistaken imagining-the dead pope hearing their prayers, his parents, his brother Frank, all the angels and all the saints, the other Jacob. Or it was true.

Absolutely, Mr. Gallagher.

Positively, Mr. Shean.

At home, his wife was at the dining-room table with Jacob. What distinguished this room from the priests’ was the clutter of bills and magazines on the server, the simplicity of the small chandelier (the priests’ was Waterford), the dust. A portrait of a pretty little girl in a wide-brimmed hat rather than the old pope. She had his history book before her and her forehead in her hands. Jacob was sitting quietly to her left, looking ready for sleep. “It’s late,” John Keane said, coming in, but she ignored him.

“Battle of Hastings,” she said and he answered, dejectedly, in his new voice, “1066.” His face was changing, too, growing thinner and longer, balanced somewhere between homely and beautiful.

“Magna Carta?” There was silence. The boy frowned. Swallowed hard, perhaps resisting tears. His Adam’s apple, also new, looked swollen. His father had an impulse to turn away.

From the couch in the living room, Michael called out, “1215,” and Jacob slammed his fist on the table and, standing, threw back his chair. “I’m going to bed,” he said, and his father might have reprimanded him if the boy had not also said, turning slightly toward them, “Good night.”

Mary Keane looked up at her husband. Her face was colorless and worn, as dimpled and lined as a potato. She ran her finger down a double page of dates and names and places. The end-of-chapter review. “He doesn’t know half of this,” she said.

He shrugged, walked through the living room where Michael, lounging on the couch in his pajamas, said, “It’s easy.”

His father said, “Don’t be a smart aleck,” and then, when he had hung up his coat, “Get to bed.”

Upstairs, in their room, Michael said, matter-of-factly, as if it were the middle of the day. “Battle of Hastings, 1066, Magna Carta, 1215…”

“I’m asleep.” Jacob had his back to him. His voice was muffled.

“I thought Jews were supposed to be smart,” Michael said. In the dim light from the hallway, he couldn’t tell at first what his brother had thrown at him-it missed anyway and hit the floor. But then he saw it was the flashlight Jacob kept at his bedside and the potential pain it might have caused filled him with indignation. They were on each other in seconds, legs and arms and blows struck into ears, into shoulders. The overhead light came on-if they hadn’t expected that it would they would not have begun the battle-and their father barked a single word. He dragged them apart, both of them splotched red in the cheeks and across their shoulders and throats, but whether from blows or their own fury, their father couldn’t have said.

He grabbed them, both of them panting, by their shirts. Their mother was in the doorway with Clare in her arms and Annie was next to her. “Enough,” was what he said.

He shoved them both down on the edge of their beds. “Sit.”

They glared at each other, across the short space between their beds, believing, each of them, that there was no greater flaw in all the vast design of the universe than these two made brothers, condemned to this same small room. Only their father between them, saying words, kept them from colliding again.

“Flesh and blood,” were the words their father was saying, standing between them. Michael’s eyes fell on the black flashlight, rolled just under Jacob’s bed, and he pointed to it as if it could bear witness. “He threw the flashlight,” he said, before his father cut him off. “Your own brother,” their father said, raising his voice again. “Who,” he asked with his finger in the air, “who do you think you’ll have on your side when your mother and I are gone? Who do you think you’ll be able to turn to when you’re as old as I am and there’s something you need-a buck or two, or a piece of advice, maybe just someone you can ask, Remember when? Your friends? Your Little League team?” He waved his broad hand. “They’ll be scattered to the four winds. They’ll have forgotten your name.” He paused, as if waiting for them to speak. And then he said, “Your family. Your flesh and blood, that’s who you’ll have. If you’re lucky. Your two sisters. Each other. That’s who you’ll have.”

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