Alice McDermott - After This

Здесь есть возможность читать онлайн «Alice McDermott - After This» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

After This: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «After This»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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.

After This — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «After This», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Their father took them to the lumberyard, bought them levels and tape measures and boxes of nails, cartons of two-foot-square linoleum with which to cover the concrete floor. Every evening that summer, when he returned from work, he changed into his old clothes, put on the army boots he wore for all household chores, and went down to assess the boys’ progress, to offer corrections and advice. With the help of a do-it-yourself manual, father and sons figured out the wiring for the fluorescent lights, got the door hung right, laid a checkerboard pattern across the floor. The old couch and the train table were donated to St. Vincent’s and their father agreed to splurge on a six-piece set of Danish modern from Sears, which gave the new room a sleek, science-fiction look that Mary Keane found cold, although it inspired in her sons a sense that their own modern futures, part Buck Rogers, part James Bond, were finally upon them.

In only a matter of months, Michael learned that the cheap foam cushions of the Danish modern sofa will buckle on you when you press a girl too ardently into its frame.

The parishioners on that first Sunday seemed both reluctant and awed, filing in not down a single central aisle but along any number of aisles that fanned out from the semicircle that was the altar. The faces in the new stained-glass windows were all angles (Mary Keane thought they looked vaguely Danish modern themselves), their robes all long bright shards of color. The crucifix suspended above them was a long swoop of gray steel intersected by a small crossbeam that seemed hardly the breadth of a man’s arms. There were no recognizable statues of any sort and the Stations of the Cross were merely white rectangles of carved stone, the Passion barely discernible within them. Because there were no corners, there were few shadows in the new church. The confessionals were small rooms, with actual doors (John Keane tested one on the way out, assessing how well it had been hung) and doorknobs, not curtains. Between them, behind a large plate-glass window, there was what Father McShane seemed delighted to call the “Bawl Room,” a soundproof room for mothers with small, noisy children. He pointed it out three times in his dedication sermon-it might have been the sole motive for the new construction-and Mary Keane, who throughout the service grew progressively dissatisfied with the too new St. Gabriel’s, added to her criticism of the place the fact that a baby’s cry or a toddler’s shouted phrase added life, and sometimes even laughter, to a Mass, which was, after all, supposed to be a celebration, not a dirge. She imagined the Blessed Mother with baby Jesus in her arms, standing behind the plate glass, the child’s mouth moving but not a sound getting through. Beside her, her husband noticed how the new pews lacked the small brass hat clips that had been secured to the back of every pew in the old church (spring-loaded, felt-tipped clips that Michael would stealthily snap at least once every Mass, a sound like a gunshot echoing through the place). He understood there was no longer a need for them-so few men wore hats anymore (he blamed JFK with his thick hair and his big Irish head for changing the fashion)-but the lack of them added to his dawning sense that the new church had turned the stuff of his own past, his own memories, into something quaint, at best. At worst, obsolete.

And yet, the smell of the incense from the censer was the smell of the incense of old, and the stately movement of the priests in their robes as they walked down the aisles swinging them, sending the pale smoke into the air, their free hands placed gently over their hearts, was as it had always been. At his shoulder, Jacob’s bowed head and thin folded hands reassured him somewhat (and told him the three hundred a year for four years that he’d spent on his Catholic high school might actually have purchased the boy something). Beside Jacob, Clare had lost her initial, openmouthed fascination with the saucer-shaped ceiling and was now simply studying her sister’s hand (which Annie, limply, had allowed her to take into her lap), studying especially the latest boyfriend’s thick high-school ring, which Annie had made smaller with a welt of yellow yarn. Beside her, Michael sprawled in the pew (three hundred a year for three years with not much to show for it), his eyes cast down not in prayer but in a kind of wry embarrassment for how utterly mistaken everyone around him, everyone who had ever had a hand in the construction of this place, seemed to be.

As soon as the priest said, “The Mass is ended” (“Thanks be to God,” was the only response Michael joined in on, saying it loudly and sarcastically and always adding, just loudly enough for his siblings to hear, “Let’s cruise”), Michael was in the aisle, out the door, the first to grab a fresh Sunday News from the pile outside of Krause’s store.

He carried it and his ritual bottle of Sunday-morning root beer back to his parents’ car. They were delayed, touring the new church (his father testing the confessional’s sturdy doors, his mother with the girls on either side of her clucking her tongue at each white and nearly indiscernible depiction of Christ’s suffering). Sitting on the warm hood of his father’s car, Michael watched the people leaving the church, getting into their own cars, pulling out. He saw Lori Ballinger walking behind her parents, her legs tan, her hair glossy in the sun, and he raised the bottle of soda in a debonair salute. She waved back, smiling.

When Jacob joined him (“They’re talking to people,” was his only explanation for their parents’ further delay), Michael said that he had seen her. “She’s cute,” Jacob said.

“A nice girl, I hear,” Michael added, emphasizing nice so that Jacob would know he hadn’t said “good.”

Jacob knew, and showed that he knew with a slight smile. He put out his hand and his brother passed him the soda, although he said as he did, “Get your own.” Jacob took a drink and then passed it back. It was a taste that made him feel ten years old.

“Where the hell are they?” Michael said. He leaned back on the hood, his knees raised. “Why the hell didn’t you take your car?” The sky was clear blue above them, hardly a wisp of cloud. He felt sometimes that all he did anymore was wait. He put his hand in his pants pocket and found a stubby pencil from the golf course where he caddied. He sat up. “Let’s walk home,” he said. “I’ll leave a note.” He wrote across the clean border at the top of the Sunday comics. Propped the entire paper up on the windshield and secured it with a wiper, left the empty soda bottle beside it. His father’s car, a ’65 Ford, was, he told Jacob, a piece of junk.

Jacob shrugged. This summer, as a graduation present, his father had given him three hundred dollars toward his own car, a little Capri. The puzzle he had studied in high-school religion classes-why the rich were so ungenerous, why the suffering of the poor, the fixable suffering, was so seldom fixed-began to solve itself for him the first time he drove off alone, in his own car. There was want, as the Brothers at St. Sebastian’s had referred to it. But then there was, he suddenly understood-alone, unfettered, pressing the accelerator, palming the wheel-I want.

His brother leaped off the hood-the percussion of the metal bending in under his palm and then bending back again. “Let’s cruise,” he said again.

They walked together, down the alleyway that ran in front of what they still called the new gym, past the modern entryway. Saint Gabriel, with the shoulders of his folded wings rising up over his head, was mere shadow behind the plate glass. They emerged from the alleyway into the sun, passed Krause’s store, where there was still a crowd of customers inside, pressed against the door. They cut through the parking lot of the strip of stores beside the school, turned toward home. It was the route they had walked together for years, when they were students at St. Gabriel’s and then again when they had come to this corner to meet their high-school bus. That was over now. Jacob was starting St. John’s in the fall. Michael would be hitching a ride to St. Sebastian’s with some friends, his senior year.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «After This»

Представляем Вашему вниманию похожие книги на «After This» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «After This»

Обсуждение, отзывы о книге «After This» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x