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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Susan almost said, “Annie?”-but instead pursed her lips to show she had no answer.

The nurse glanced at her watch. “I thought maybe she’d gone out for a bit of lunch, but she’s been gone a while now.” She gave Susan the full, professional warmth of her brown eyes. “Pam at the desk said she just kind of flew out.”

Susan nodded. She and Annie had agreed to have lunch together, if she was up for it, at a diner on Third Avenue. Vanilla egg creams and greasy cheeseburgers, they’d said.

“We can’t let you go home alone, you know,” the nurse told her kindly, deliberately. “Is there someone else you can call? If she doesn’t come back?”

Jill O’Meara came to mind, but Susan suspected she was probably at work now. Susan didn’t even know the name of the card store. Jill would be two hours coming in from Long Island anyway. The Jackass had a car-a GTO, the whole problem-and lived in Queens, and it would serve him right to get the full weight of the whole summer delivered to him in one phone call (You screwed me, you dumped me, I just had an abortion, and you need to drive me home), but she wasn’t that crazy. She knew he caddied on Tuesday and Thursday anyway; she’d made enough plans this summer to casually drop by the golf course.

Slowly, she shook her head. “She’ll be back,” she told the nurse. “She said she might run over to Bloomingdale’s.” And then, when the nurse had gone out again, wondered how messed up she was to find herself praying, praying earnestly this time, that her half-assed lie was true.

The doctor, without a smile, gave her a lecture about venereal disease and a prescription for birth control and told her about the new risks a second abortion would raise. Then she handed her a small white business card, the name and number of a social worker.

Frowning at her from behind the wire-rimmed glasses, the doctor suddenly asked, in quick succession, “You live with your family? Mother and father? Are you afraid of your father? Is he violent? Does he hit you?”

After everything, Susan was surprised to feel herself blush. There was a time when she might have been afraid that her father would hit her. When she and her brother were kids, he had often shown them the back of his hand, and though they’d never once been struck, they had always flinched. But that was long before Tony went to Vietnam, and came back, and disappeared. Long before the night she saw him weeping in their father’s thick arms, not like a baby or even a kid, but like a lunatic, one of her father’s own patients, God’s mistakes, as he called them, saliva veiling his open mouth. Or the day he put his fist through the living-room wall. Or the day their mother told Susan that it would have been easier for their father if Tony had been killed in the war.

“My father’s never hit me,” she told the doctor. “Not at all.” After everything, it was the first time she saw them suspect a lie.

The nurse had just handed her the first month’s supply of pills in a little case that looked like a pink compact when she said, cheerfully, “Your girlfriend’s outside.”

Annie was on the same couch where Susan had left her, but it was clear, even in the warm light of the waiting room, that she’d been crying.

There were two other, middle-aged, women also in the room so Annie whispered when she said, “You okay?” and Susan whispered back, “Yeah, are you?”

“Fine,” Annie said shortly, and then handed Susan her purse.

They walked down the hall to the elevator in silence. Although they lived on the same street, although Susan’s father had helped to deliver Clare, they had been best friends only since the first week of freshman year. At mixers with the all-male Catholic schools, they had discovered they were the perfect boy-meeting pair: You ask the blonde, I’ll ask the brunette. They had gone on their first dates together. They had lost their virginity within a week of each other-Annie on the night of the junior prom, Susan a week later in gratitude for the prom and in regret for not having done it, perhaps more memorably, then. They had gone through this ordeal all summer knowing that their places were interchangeable-that Annie could be Susan and Susan could be Annie. Knowing, too, all they knew about breaking the baby’s arms and legs and drowning it in salt water.

“Did you have lunch?” Susan asked her in the elevator and Annie said, “No. Aren’t we going to the diner?”

At the third floor, they got the full whiff of the famous hair salon and then watched a tall, beautiful woman get on, her frosted hair blow-dried to elaborate perfection. Stepping back to make way for her, the two girls exchanged a look behind her back, a grimace and a grin.

If Annie hated her for what she had just done, Susan thought, then she would be alone in the world, as lost as her crazy brother screaming in his dreams.

In the diner, they found a booth near the window. The cheeseburgers were perfect, flat and juicy and turning the soft rolls beneath them a reddish pink. The sweet egg creams, in frosted fountain glasses, might have been a balm for any number of things. They both put their straws in and then drew them out again and licked the white, vanilla-scented foam.

“So, where’d you go?” Susan asked, hoping to deflect Annie from saying, How was it? This morning she would have trusted her not to ask “How was it?” but now, suddenly, everything seemed tentative between them. It was possible Annie hated her for what she had just done.

Annie slipped the straw back into her drink, churned it a bit. Reluctant to speak until finally, she simply said, “I lost it.” For Susan, the thick pad and the cramps and the terrible word-curettage-that set her teeth on edge, all gave way to the sudden descent her heart took. If their places were exchanged, Annie would not have done what she’d done. And there was no undoing it.

Tears came into Annie’s eyes-green eyes now against their red rims. Susan saw her swallow hard before she leaned across the Formica tabletop and asked, whispering, “Do you know she dies?”

Susan felt herself draw away from the question, even as Annie seemed to lean into it. “Catherine,” Annie said. “In the book. Did you know she dies at the end, and the baby’s dead and he walks out into the rain by himself?”

Annie’s voice seemed to twist away from her and she tried to laugh through it, suspecting she would lose it again were it not for the good cry she had had an hour ago, in a deserted ladies’ room some floors below the clinic-a place she had sought blindly, flying (as the receptionist had said) from the waiting room (another pair of women had entered by then, a greenish-looking girl in her twenties and an older woman who might have been her mother) and into a nearby stairwell where the first sob had broken from her throat and echoed so loudly that she’d run heavily down the stairs just to cover the sound with her own footsteps. Out onto another floor where there was, luckily, an empty ladies’ room. She had locked herself in a stall and sobbed for the unbearable sadness of the story: Catherine dead and the baby dead and nothing at all left for him-like saying goodbye to a statue, he had said-but to walk out into the desolate rain all alone.

She had cried for what must have been twenty minutes and then went out to the sink and splashed cold water on her face-knowing she should get back upstairs for Susan-and then began to cry again.

Because it was intolerable: Catherine dead and their baby dead. Intolerable and terrible and made even more so by the fact that within the same hour of her reading, the book had convinced her (there in the softly lit waiting room of the abortion clinic) that despite war and death and pain (despite the way the girl with a woman who might have been her mother seemed to gulp air every once in a while, a handkerchief to her mouth), life was lovely, rich with small gifts: a nice hotel, a warm fire, a fine meal, love.

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