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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She had studied her own young face, blotched with weeping, in the bathroom mirror. Terrible things were ahead of her: Jacob would go to Vietnam. Her father’s surgery had made him an old man. And how would she bear the empty world without her mother in it? There was college to look forward to, boyfriends, marriage, maybe children of her own, but terrible things, too, were attached to any future. What you needed, she thought, was Susan’s ability, her courage, to fix your eyes on the point at which the worst things would be over, gotten through. But what an effort it took.

Susan’s baby, she thought, might be better off, after all, never to have been born.

And then she had cried twenty minutes more.

“I’m over it now, sort of,” she told Susan, laughing at herself. “But I really lost it.”

Susan said faintly, “I guess I’ll have to read it.” In all her calculations about what to do, about running away, telling her parents, leaving school, driving to the golf course and throwing herself into his arms, she had not considered dying in childbirth. The baby dead, too. She wasn’t even sure if such things happened anymore. Although she knew the words “even death” had appeared somewhere this morning, on something she’d signed.

Annie pulled some paper napkins from the steel dispenser and held them under her eyes. “Don’t,” she said, laughing. “Spare yourself. You can copy my summary when it’s due.” Then she straightened her spine, threw back her head. She balled the napkins in her hand. “What is wrong with these people? These nuns?” It was an old refrain, but it comforted, somehow, returned them to the time before today. “What is wrong with our school?” It was their friendship’s eternal question. “Why do they pick these depressing books?”

Susan smiled, knowing the tune. “That bridge thing,” she offered.

“God, yes,” Annie cried. “ San Luis Rey. What was the point of that?” She held out her hands. “ Ethan Frome.

“Oh, God.” Susan had a napkin to her eye as well. “When they crashed their sled into the tree.”

“Nice,” Annie said.

“Uplifting,” Susan added. It was their old routine. Oh, Mr. Gallagher.

“And the end of Great Gatsby ” Annie said. “The blood in the pool from where he’s shot in the head.”

“And then that other guy,” Susan said, warming to it, “in the poem, who goes home and shoots himself.”

“Miniver Cheevy,” Annie said. “And Anna Karenina.

Susan shook her head. “Couldn’t read it.”

Annie leaned across her plate, emphasizing the words. “She throws herself under a train.”

Susan laughed once, like a cough.

“Madame Bovary !” Annie said.

“Dead, too?”

She nodded. “After about a million affairs.”

Susan shook her head. “Well, of course,” she said. “Sex and death. That’s the message.”

Annie threw the balled-up napkins onto the table. “Christ,” she said, “what is wrong with them? Why do these crazy women want us to read such depressing things?”

“They want us to suffer,” Susan said, sarcastic so that Annie wouldn’t see how much she wanted to cry. “They want us to be afraid.”

“They want us to be nuns,” Annie added, so she wouldn’t have to say, Oh, Susan, oh, my poor friend.

In college, Michael Keane was given to saying that if they were not exactly the middle children born at mid-century to middle-class parents and sent from middling, mid-island high schools to mediocre colleges all across the state, they were close enough. They were out to be teachers, most of them-industrial or liberal arts the predominant goals since any interest in science or math portended better things: accounting, engineering, med school in Mexico.

Damien’s, where they drank, was not, as Michael Keane liked to say, in the most felicitous part of town: it was an ugly, desolate old house tucked among ugly, snowplow-ravaged streets that were themselves lined with more narrow, sagging houses, bent fences, scrawny trees. There was a sorry-looking baseball field across the street and the edge of a cemetery off the abandoned lot behind. The black skeleton of an old power plant rose up in the far distance, over the field, and you couldn’t get to the place without feeling three, four, maybe five times the rutted thump and bump of abandoned railroad tracks under your wheels. But by their junior years most of them had had enough of the storefront bars on Main Street, the bars along the river and at the lake, the roadhouses and beer barns out past the fraternities. In the paucity of streetlight and house light that surrounded Damien’s, the place could easily be missed-there was only a bit of red neon in the window-and the joke was that you couldn’t find it unless you knew where it was. Knowing where it was brought all of them that much closer to what they thought of as the real life of the city. As did knowing Ralph.

He was in his early forties. Lean, a little stooped, a little paunchy. He lived on the second floor of the old house, above the bar. The house itself had once been a funeral parlor. Then a speakeasy. Then, and currently, a dive. Stories that were told about Ralph Damien said that he had dropped out of three colleges before joining the army. And turned down an offer to attend Oxford after beating the “head guy” at chess in a London pub. And accepted another to service a society matron in Saratoga Springs when he was nineteen. He wore his dark hair long at a time when most middle-aged men still didn’t, and had a drooping mustache at a time when every college student who could did too. He was languid and sarcastic and worldly-wise, a source for pot and hash as well as for beer and schnapps and tequila-for cheap stereo equipment, sometimes; sometimes for a stash of watches, commemorative gold coins, leather jackets; once for sealed boxes of Chanel No. 5 to take home to your mother.

Like Michael, most of them who hung out at Damien’s were juniors and seniors. Most of them had done at least one semester of student teaching in some smelly local school-in their dress pants and button-downs and ratty, poorly knotted ties. Most of them had a pretty clear idea of what the next few years were going to be like.

But stop into Damien’s at four o’clock in the afternoon with a cold rain falling, and there would be Ralph, a joint burning in an ashtray on the bar, the newspaper spread before him. He’d open the refrigerator in the back room to show off a dozen choice sirloins wrapped in white butcher paper-payback for a favor he’d done someone. He’d berate, leisurely and with a cool amusement, some perspiring liquor salesman in a cheap suit and a hunting jacket who was trying to sell him piss for beer. He’d hunker down at a side table with a pair of locals, his thumb to his jaw, his ringers splayed across his cheek and then rise, laughing, slapping backs. He’d be in Aruba over Christmas, he’d tell the college kids, great little hotel, great little woman waiting for him there, the color of caramel. At ten or eleven on a weekend night, he’d ask, “Anyone want to pump beer for a while?” And then step out from behind the bar to slip his arm around the waist of the woman or the girl who had been waiting on a corner bar stool. He’d bend down first for an openmouthed kiss and then, with his thumb slipped behind her belt, walk her to the stairs.

It never occurred to Michael Keane, to any of them, it seemed, to wonder what women saw in Ralph Damien, this middle-aged townie with his low-slung jeans and paunch and long hair (and-after the Christmas in Aruba-a diamond earring at a time when no middle-aged men, no men they knew of, wore one). The hours Michael had already spent in those green-walled classrooms had given him his own pretty clear idea of what the next few years would be like, but he wasn’t quite ready to believe that he’d be there, polyester dress slacks, frayed button-down, knotted tie, at thirty-five or forty. Better to imagine vaguely a life like Ralph’s, to imitate his weary smile, his cool squint, his way of palming the cash register or the beer pull. His nonchalance when he returned from upstairs with the girl in tow and either threw on the lights for last call or bought shots all around, or just took up one of his own bar stools for the rest of the night, the girl’s hips in his hands, her rump pressed firmly between his skinny legs.

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