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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In June, Susan Persichetti found a job at the Woolworth’s in the mall-the cosmetics counter, which was fun and gave her a chance every once in a while to slip a lipstick or a bottle of nail polish into her purse. She had to wear a smock, a pale blue polyester thing, all the employees did, and by early August she was bringing it home and putting it on over her clothes in her bedroom before she went downstairs and out past her parents to work.

Her room was in the attic, the long, dormered space that had been left unfinished by the builder (although he did provide the center-hall staircase that led to it), and paneled and plumbed rather inexpertly by her father and Tony while he was still in high school. She’d borrowed the room while Tony was in the army and now that he had left home-for good, it seemed-the space was hers alone, but it still retained the dark scent and insurmountable dreariness of a boy’s room: oak paneling and brown shag carpet and a wooden toilet seat in the bathroom. She didn’t mind. She had even kept a couple of her brother’s old posters on the far wall.

Putting her smock on over her clothes, she skipped down the stairs, her car keys in her hand, and cried, “Going,” to her parents, who would always look up from the couch or the table or the television and then-if they were in the same room-look at each other to confirm how they both understood that this summer’s quick glimpses of their teenage daughter breezing in and out the door were mere prelude to her leaving them for college in another year. And then for the rest of her life. But the look they exchanged acknowledged, too, how pleasant it was to know that for her, stepping off into her life, there would not be the quicksand that had met Tony: the army, the war, the year away in which the child they had known was lost, utterly drawn down, sucked under by the troubled, angry, silent young man he had become.

“Drive safely!” they cried back. Or, “Be careful!”-cheerfully, because girl children went off but they also returned, bringing grandchildren and their own solicitousness to their parents’ old age.

Sometimes her father would begin to sing, teasing her, “I found a million dollar baby in a five and ten cent store.”

It was amazing, she learned, what you could find out. There was no sense looking under A in the phone book, for instance, you should look under W instead: Women’s Health. Women’s Medicine. (Woman itself sounding in their mouths like a newly coined word-not ladies, not girls anymore, but women.) Information filtered down from a college-age friend of a co-worker at Woolworth’s that one of the clinics in the city was in the same building that held a famous hair salon everyone at school was talking about going to. She called the clinic from a pay phone. She needed proof of age and three hundred dollars and if she hadn’t had a pregnancy test yet, they would do one there. Also someone to accompany her home.

She wasn’t eighteen but she could use Annie Keane’s phony birth certificate and driver’s license, the one she used to get into bars. Although Annie had hazel eyes and hers were brown, they were both five foot five or so and slim. Annie said she’d come with her, too, so no need to call the boy-”The Jackass” was how Susan now referred to him-who had stopped calling her himself early in July. There was only the matter of the money.

She had saved seventy dollars so far this summer. Annie loaned her fifty from her own savings and then two more ten-dollar bills, filched (on two separate occasions) from her mother’s lingerie drawer. Susan added thirty-five of the fifty dollars her father had given her to shop for fall clothes-indulgently, because her mother wanted her to use her own money-saved by buying a single sweater and then going into the dressing room to put a blouse and a kilt skirt into the same bag. The trick-amazing what you could find out-was to go to the better departments of the nicer stores where there was usually only one saleslady working the floor (a plump grandmotherly type in this case, whose daughter had gone to Mary Immaculate Academy as well), and no one counting hangers as you moved in and out of the dressing room, looking for another size.

She added the next thirty of the thirty-seven dollars from her second-to-last paycheck.

In her blue polyester smock, her arms pressed against her stomach, she drank a Coke and smoked a cigarette with Jill O’Meara who had come into Woolworth’s just as Susan was going on her break. They sat together on the concrete rim of a planter in the middle of the mall. It was humid, but there was that orange color at the edge of the blue sky-the beginning of a late-summer sunset. Because they had not seen each other since June-they were not particular friends-conversation demanded an accounting. Jill had had a perfectly boring summer, working at a card shop in a strip mall near her home, the backyard pool, Jones Beach, two weeks camping with her family-where, she added, a spontaneous lie, she met this guy. They went pretty far, she said, improvising, swimming together late at night, in the lake, out of their suits. He was dark-haired and blue-eyed and funny-but from Syracuse, she said, the first place she could think of that sounded like the dark side of the moon.

Susan looked at her, smiling. “How far?” she said. They were not friends, but might be becoming. Jill admired Susan. She liked her wit, her self-possession, her feline languor in the classroom, the way she slumped and curled into chairs. The way she let her eyes close slowly, never bothering to put her head down, when a teacher grew boring.

Like most compulsive liars, Jill O’Meara was skeptical of the reports others gave of themselves-the incredible dates, the wild parties, the insane mothers and alcoholic fathers-but she had always trusted what Susan had to say. Susan’s brother had gone to Vietnam and had come back a basket case. (This offered in a history class discussion about the war.) She had spent a year convinced her parents were really brother and sister, they were so identically boring. (This during a retreat day at school when the girls had been broken into small groups to discuss ways to bring Christ into their daily lives.) She had written her initials in love bites around the navel of the boy she was taking to the junior prom. (This declared amid much laughter at a table in the lunchroom.)

Jill sipped her drink, nodding slowly. “God,” she said, as if at the recollection of some astonishing memory. “We went far. Really far.”

A laugh, sophisticated, wordly-wise, broke from Susan and she said, “Start saving your pennies now,” and opened her smock and put her hand on her stomach, although what she thought of as her paunch was mostly invisible to Jill, and to everyone else.

“This ain’t pizza,” she said.

At the end of a boring summer (no boy at the lake or anywhere else, only a hopeless crush on the UPS guy who stopped by the card shop every day and called her Kid), the revelation, the sudden tears in Susan’s voice, were high drama.

Jill O’Meara had nearly two hundred and fifty dollars in her senior prom fund. (It had been her junior prom fund last year but she hadn’t found a date.) She told Susan-the summer suddenly become interesting-”I can lend you the rest. You want me to go with your

Susan spent the night before at Annie’s house so in the morning they could walk to the bus stop. They both told their mothers they were accompanying the other to the famous hair salon in the city to give her moral support while she got a new cut. (The story would be that in the end Susan/Annie had chickened out on getting something totally new and just got a few inches cut off, you could hardly notice the difference.) They took the Long Island Rail Road to Penn Station and then rode the hot subway uptown. Of course, they didn’t run into any neighbors or relatives who worked in the city, or anyone else who knew them, but that was no matter-the haircut story was already in place; they were, until they got off at the eleventh floor and not the third, precisely where they were supposed to be.

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