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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Mrs. Antonelli doubted very much that Jacob Keane would find the army to his liking. She looked up to see the eighth grader, a brazen thing, nearly six feet tall, who still lingered at the door with his shirttail out, hoping for another assignment from her to keep him from going back to class. She dismissed him and then sank into her chair. She put her glasses on and Sister Rose’s lovely handwriting-a perfection of the art, she always said-came clear to her again. She said a prayer: Let them find something easy for the poor kid to do. A desk job in Germany. Lifeguard duty at a base on Okinawa, as a neighbor’s boy had done. Amused to find how the world had turned since she was young-Germany and Okinawa now safe places for an American soldier.

But there was something unlucky about the boy. She would not have said tragic, just unlucky: his small stature, the awkward attempts at good manners, the apparently unsuccessful years at St. John’s, the draft. Getting sent to Vietnam would be of a piece with all that. And what opportunities for bad luck would he find over there? Mrs. Antonelli had no children of her own, and so felt herself more clear-eyed about such things. There were kids who were born with luck on their side and others who simply weren’t. It wasn’t about intelligence or good grades, not even necessarily about good looks (although there was luck in that, too). It was chance, plain and simple. Kids born lucky and kids who never got a break. It was fate, perhaps, although she supposed God came into it somewhere (she couldn’t say how, except, perhaps, that God had his favorites, too). She saw herself, some months from now, telling Sister Rose, who would not remember him, how Jacob Keane had come to her office not long ago, just before he went in, to pick up little Clare and take her to the dentist.

Two boys from St. Gabriel’s had already died in the war. Neither was memorable to her as a student, although she had attended both funerals, sitting behind the three eighth-grade classes who had filled up the back of the big round church, warming it a bit, for both boys had been buried on cold winter days. From where she sat, the flag-draped coffins and the stooped families in their dark clothes had seemed rather a long way away. Although she had heard one of the mothers say, simply enough, “My baby.”

Mrs. Antonelli touched her glasses to make sure they were still there, for Sister’s blue ink and fine letters had once more lost their clarity, and the steady yellow light briefly wavered. She looked up. The tall eighth grader was in her doorway again, his shirttail still out and his tie still crooked, a white attendance sheet from Sister Savior in his hand. His face and his hair, all his edges, a blur, through her tears. An angel himself, through her tears.

In the narrow alleyway beside the school, Jacob paused and then leaned down to whisper into his sister’s ear. “It was a fib,” he said.

He leaned down, out of the autumn blue sky, out of the cinder-block wall, out of nothingness (she would say later) and into awareness, into memory. His eyes were green and his lashes long and thick. There were marks on his face, freckles, lingering acne, nicks from his razor. There was the trace of a beard. He leaned down and put his lips to her ear and said, “It was a fib,” a buzz against the soft bones that made her raise her shoulder and giggle. Surely not her first memory of him-he had read to her when she was still in a crib, he had sat beside her on the stairs waiting to be called down on Christmas morning, at the dinner table he had spoken to her through his raised milk glass, the milk bubbling with his words until their father said, “Enough”-but surely this was her first clear memory of his face, leaning down to her out of the autumn sky.

There was no dentist appointment, he said. He had the car keys in his hand. He started walking again. He just wanted to take her for a ride, he said. She hurried to keep up. They were in the alleyway. On one side was the long cinder-block wall that separated the school property from the strip of stores and the parking lot next door. On the other, the low steps and wide glass doors of the gym. The alleyway itself was a magnet for lost mimeographed worksheets and loose-leaf paper, for candy wrappers and brown lunch bags and the yellowed wax bottles, many of them marred by teeth marks, that had once been filled with sweetened, brightly colored liquids, purchased from Krause’s store. There seemed to be a constant wind blowing along the ground here, full of sand and grit, and she felt she was racing through it, following him. He had the car keys in his hand and they jingled like a cowboy’s spurs as he led her around the cinder-block wall and into the parking lot next door, where he had left his car. He unlocked the door, opened it for her. “Hop in,” he said. There was a thin terry-cloth cover over the old leather seats. It seemed to be attached with rubber bands. It slid underneath her as she climbed in, but it was soft to the touch. He slammed the door, walked around the back of the car. He had parked under the single tree in the lot and a few leaves, yellow and gold and rust colored, had drifted onto the red hood and across the windshield. He got in the car, put the key in the ignition. “Let’s just drive around,” he said.

She said okay, although still she expected the drive to end at the dentist’s office-the eighth grader who had fetched her had said so, and so had Mrs. Walters when she called her to the front of the class. She could already smell the cinnamon and alcohol of the place. Hear the hateful sound of the drill. The office was in the basement of the dentist’s house. There was a long concrete stairwell, damp and steep, that went down to the door. The floor of the waiting room was black and white. There would be a shoe box full of charms and toy jewelry from which she could pick two when it was over.

Her brother put his arm across the seat and slowly backed out of his space. He drove first through the length of the narrow lot, past the candy store, the hardware store, the five-and-dime. “That’s where the ‘hoochie-koochie-koo’ man used to stand,” he said. He pointed to a row of shopping carts in a corner near the grocery store. “When I was your age,” he said. “He was just a crazy old man, always kind of drooling. If he got close enough to you, he’d pinch your cheek and say, ‘Hoochie-koochie-koo.’ ” He looked over his shoulder as he turned out of the lot. He was smaller than their father, but he had the same seriousness when he drove. “People said he was shell-shocked. From the war.” He made another turn, driving slowly, slower than she could walk. “I don’t know when he stopped being there.” He drove past the bowling alley and told her he’d been on a bowling team in eighth grade. He was so bad, he said, that he never broke a hundred. He said he used to sit there and pray, waiting for his turn. Just one spare, he used to say. Not even a strike. You don’t have to make me good, he used to tell God. “Just average.” He looked at her and laughed. She laughed, too, mostly because it was the middle of the morning and she was supposed to be in school and she wasn’t. She was sitting beside her brother in his car. He raised his arm and pointed and then quickly returned his hand to the steering wheel. “That’s where we used to go for our polio shots, when we were little. And then they changed it to those little sugar cubes.”

“Oh,” she said.

“I guess they worked,” he said. He looked at her. “I’ve never had polio, have you?”

She laughed, not exactly certain it was a joke. “No,” she said.

He put the turn signal on again and once more pulled out into the road. It was a familiar route, the one that led from the church or the school to home, but it was made strange and new by the fact that it was mid-morning and she should have been in school, by the fact that she was alone with her brother, in his car, and they were driving even more slowly than she could walk. They passed the playing field at the back of the school, beside the cemetery. Without a word, the two of them turned their heads to watch it go by. The grass was balding and the fence behind home plate was bent and torn. There was still something of summer’s dust over the whole thing although the leaves on the trees at the far end were yellow and red. They turned again, down another street, this one lined with houses like their own. Lawns and driveways and sidewalks. Jacob named the friends who lived in some of them-Louie, Kevin Malloy, Ted Fish. He told her a story about one Halloween. He turned again. Lori Ballinger’s house. Michael took her to the prom. Bobby Kent’s house. Bobby cried in sixth grade when people wouldn’t stop calling him Clark. He turned again. Now they were off the familiar route to church and school and she began to suspect once again that he was taking her to the dentist.

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