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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On a night of cold rain turning to sleet late in October, Ralph put an elbow on the bar and slipped his hand under the long blond hair of a girl Michael knew-Caroline. He leaned toward her and she, stepping up on the bar rail, all graceful and delicate in muddy construction boots and blue jeans and an army surplus parka, leaned toward him. They kissed, just briefly, before she stepped back and raised her plastic cup of beer. Ralph lifted his cigarette from the edge of the bar and said, through the smoke, “You guys want to pour for a while tonight?”

He never paid anyone for working but he was generous with free drinks for those who did. Michael turned to the guy beside him to see if he was game. The kid looked blanched. Michael didn’t know him very well. A transfer from Nassau Community, he was observing at the same middle school where Michael was teaching social studies that semester. Michael had introduced him to Damien’s at the beginning of the year and now the kid followed him to the place after school as a matter of course. He was a surfer and didn’t much like the upstate weather, but, Michael thought, a nice enough guy, a little doe-eyed and baby-faced-you’d put him closer to fifteen than twenty-and a heavy but inept drinker, which was the first thing he thought of when he saw the kid’s bleached lips. But then he saw the way he looked down the bar at Caroline.

Michael had passed around a bag of miniature Hershey bars in his class that afternoon, in honor of Halloween, but a lot of the kids had refused to take one-because of their acne or their efforts to be cooler than the student teacher, he couldn’t tell-so he’d brought the extras into Damien’s. He took one now and slid it down the bar to Caroline, who turned as it bumped her elbow. She had one of those wide, clean faces that seem ordinary only on first glance, and beautiful hair. The girls he lived with filled their off-campus firetrap with the smell of hot rollers and singed scalp, but Caroline still wore her hair perfectly straight and nearly waist long. She picked up the candy bar and once again stepped up on the bar rail, leaning to see who had sent it.

“Trick or treat,” Michael told her. There were probably half a dozen backs and elbows and reaching arms in the short space between them, so he leaned forward and said, “Come here for a minute.”

He saw her glance at Ralph before she stepped down again and made her way through the crowd. He could see her smiling as she squeezed through, knowing everyone, having a fine night at Damien’s. She pushed through the crowd, flushed and grinning. She put her hand on his shoulder and he put his to the back of her head, just to feel the heavy silk. It was, he understood, why he’d called her over in the first place.

“You know my buddy here?” Michael asked her because he had momentarily forgotten the kid’s name.

But she shifted her hips a little and dropped her eyes for just a second before she said, “Hi, Terry.”

And Terry looked casually away from her, sipping his beer all nonchalant to say, “How’s it going?”

The crowd pushed her closer and Michael took the opportunity to slip his arm beneath her parka and around her slim waist. “How do you know this lowlife?” he said.

Terry was still looking straight ahead, his right leg jiggling.

“High school,” Caroline said. “We went to Valley Stream Central together.” She smiled at his averted face. There was something regal about her although she was not tall. She shook her hair, brushed some stray electrostatic strands of it off her cheek. The gray fake fur that edged her hood could have been ermine. “We ran into each other his first week here,” she said primly. “When he was thinking about going back home, he was so lonely.” She pouted a little, imitating his loneliness. “I tried to make him feel better,” intimating with her smile a certain benevolence bestowed, back when he was so lonely.

Terry glanced at her from over his shoulder, his color restored.

“Fuck you,” he said.

“Nice mouth,” Michael told him even as Caroline sighed and slowly shook her head. “He does it even quicker than he says it,” she said. A few people around them laughed. Charlie Hegi, who was reaching for the bag of Hershey bars, said, “Zing.”

Now Ralph was in front of them, a bottle of tequila in one hand and four shot glasses in the other. “Play nice, children,” he said. Terry swung off the bar stool and immediately someone else took his place. A big guy, made bigger by his long doughboy coat. Bad skin and short arms and a ponytail that smelled unwashed. Bean was what they called him. He seemed to expand to fit whatever space was left for him, bellying up. “Hey, Ralph,” he said, with that false belligerence guys like Bean substituted for wit. “Where the fuck are your decorations? It’s Halloween, man.”

Ralph shook his head. “Don’t need them,” he said. He lifted Bean’s cup out of his hand, refilled it. Handing it back, he added, “They don’t make decorations as ugly as some of you assholes.” And then, leaning forward, “You know what this place used to be, man?” He bared his teeth, a kind of smile. “This place used to be a fucking funeral parlor, man.”

Bean took this in for a second, narrowing his small eyes, and then said, “Bullshit.”

“The trapdoor in the garage is casket-size,” Ralph went on. “Go look.” He gestured toward the center of the room, toward the jukebox and the bulk of the crowd. “From the turn of the century to the forties,” he said. “One dead body after the other laid out right here. This place has so many ghosts I can’t sleep at night. You want me to put up decorations?”

“Yeah, man,” Bean said, none of it sinking in. “It’s Halloween.” But the chubby girl who had edged in beside him, Debbie, held out her empty plastic cup and said, “You told me this used to be a speakeasy.”

Ralph took her cup and filled it, shaking his head like he was the weary professor and she some dumb-ass student who hadn’t done the reading. “My grandfather was the undertaker,” he said patiently, “but my father was the bootlegger.” He handed her the cup, took her dollar. His earring caught some light. “During Prohibition,” he said, and then looked at Bean. “You know what Prohibition is?” and Bean said, “Shit, yeah. I’m a fucking history major.”

“Yeah, well,” Ralph said. He slapped the dollar into the register. “During Prohibition,” he said, “my father had something going with some Mafia guys to ship booze from Canada-in coffins. Most of it went downstate but my dad kept enough of it to get a little side business going with a speakeasy-you know what that is, Bean?” And Bean, who had a mouthful of beer, swallowed it before he nodded. “They served the stuff right next to the stiffs,” Ralph said. “I kid you not. My grandfather would stuff ‘em and truss ‘em and then as soon as the last mourner left, my father would bring in his customers and get them stiff, too. His biggest challenge, he said, was keeping the cigarette butts out of the coffins. One time he came down here in the morning, just as the dead guy’s family was coming in to close him up for good, and, holy shit, he sees the corpse has a shot glass on his forehead.”

Ralph plucked a few empty cups out of hands and refilled them, collected his money. “This is a fucking funeral parlor,” he said, his arms outspread. “What do I need Halloween decorations for?”

“It’s not anymore,” Bean said, but uncertainly.

Ralph shrugged. He’d grown tired of the subject.

And then he looked at Caroline, who turned on her smile the way you flick on a lamp. Michael had driven home with her once, Thanksgiving vacation, a whole carload of them. She lived in a split-level, the shingled part painted pink. There was a saint in a stone grotto between some bushes, a boat on cinder blocks in the driveway, and her mother already waiting for her behind the aluminum-and-glass storm door. Someone had made a joke about Mom radar.

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