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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Pauline turned an impassive face to her, standing between the two beds.

“I don’t expect you will,” she said.

And then there was the sound of Clare coming in. Clare coming through the front door, dropping her books in the vestibule. “Maaa?” They heard the girl’s footsteps on the stairs. “Here,” her mother called. And then she was in the room. Her coat and her hair were wet with rain. She smelled of pencil shavings. Of the halls of St. Gabriel’s.

“You’re here,” she said to Pauline, and easily went to her, put her arms around her, as her mother had not, her cheek against her breast. “How do you feel?” she said, gingerly. “Are you better?”

Pauline, with something of her old dignity, said, “Oh, yes. Much better.”

At dinner, there was the new configuration at the table: Annie had taken Michael’s place and Pauline sat beside Clare. Afterward, Clare sat in front of the television as Michael used to do, watching while she did her homework. Sitting in the chair behind her, Pauline said, “Doesn’t the TV distract you? Wouldn’t you rather sit at the table?”

And Clare shook her head. “No, I’m fine.” Her hair had gone wavy from where it had been wet and it caught the TV light at its ends. “Can you really concentrate?” Pauline said and the girl nodded, “I really can.”

The boys’ room was chilly after the overheated rooms of the hospital, but it had a pleasant smell: there was a box in the bedside drawer that contained sticks of incense-Pauline put it to her nose-a smell like an old church, just after Benediction, a smell that ran just under the other, ordinary smells of clean sheets and the lingering scent of dinner. She turned back the plaid spread. Both beds were made up, but she chose the one nearest the wall to avoid the light from the hall that came under the door. She was well asleep when she felt Clare’s hands on her shoulders, patting her softly, and had a momentary belief that she was in the hospital again, that another patient had wandered in.

But Clare laughed a little in the darkness, whispering, “Is that you? I can’t see.”

Pauline said, “Yes, it’s me.”

She heard the girl moving away. “Okay,” she said. Heard her pulling at the sheets on the other bed, getting under the covers. “I sleep in here sometimes,” she said. “When Annie stays up reading.” She was only a voice in the darkness, but even in the darkness, Pauline would have known the voice.

“That’s all right,” Pauline said.

They were both silent. There was, perhaps, some faint music, piano notes from next door. Pauline was beginning to see a little more, some thin light behind the curtains, perhaps the outline of the girl’s small body under the spread. In a moment, she could hear her breathing softly, sweetly, into the dark.

The girls had heard it through the night: rain drumming on the roof and rattling down the drainpipes, rain amplifying, giving voice or music (depending on their dreams) to the sound of passing cars. They had ridden to school this morning with the metronome shush of windshield wipers thrumming at their temples, erasing one thought, then another, then another as it formed again. Riding the school bus or in their fathers’ cars with their sleeves and shoulders damp, their loafers and the crowns of their heads darkened with rain.

They felt the dampness of it still at 10 a.m., second period, as they moved into the classroom, their books in their arms.

The overhead lights had not yet been turned on, nor had the teacher arrived, so here was an opportunity to sprawl, for a minute. Put your head on the desk.

Outside the mullioned window was a slate-gray sky, a dark lawn, a black hedge that hid the road, although they could see the headlights of cars behind the tangled shrubs, low beams moving as if through water. There had been general consensus this morning, on the radio at least, that were it not for the unseasonable warmth of the day, there would have been two feet of snow.

The raindrops ran in fits and starts across each pane. The morning light, filtered through the rain-spattered glass, turned the colors in the unlit classroom into various shades of gray.

Clare Keane folded her arms across her books and rested her forehead in the crook of her elbow. She closed her eyes and the sound of the rain and of her shuffling, murmuring classmates grew hollow and distant, veered from noise to echo to dream.

Beside her, Barb Luce slumped at her desk, then stretched her legs to straddle the chair legs of the seat in front of her. Idly, she took inventory: penny loafers, navy kneesocks, dimpled knees, bare thighs-winter pale against the pleated plaid wool of her skirt-a nick of dried blood between knee and skirt hem from this morning’s razor. She licked a finger and put it to the scab, assessed the smoothness of the shave with her fingertips. Knees were always tricky.

There was a general yawning, a leaning forward and a leaning back. A lethargic unclipping of hair clips and a clipping back up again. A roll of Life Savers was passed around, its plume of unraveled wrapper like a lengthening stream of smoke as it went from hand to hand. A clicking of candy against teeth. A general whisper, Did we have homework in here? Did she give us homework?

Monica Grasso shuffled her books and said out loud, “I don’t want to be here,” but opened her notebook anyway and reviewed (the Diet of Worms, the Council of Trent), just in case.

The rain was steady, no particular wind to drive it or to vary its rhythm. Cynthia Pechulis pulled her hair up into a ponytail at the top of her head and Dawn Sorrento, sitting behind her, saw in the lovely declivity between her neck and spine the fine blond hair Cynthia had been born with.

They were all fourteen or fifteen in identical plaid skirts and navy blue blazers, white blouses with soft collars.

Kathleen Cornelius, her large face drawn, her lips parted, noticed that the blackboard glimpsed through her lashes bled a little at the edges but snapped to again when she opened her eyes wide. She tried this a number of times until her attention was diverted by the floating dust motes that appeared in the gloom of her lowered lashes. They were perfectly round, transparent, either dust motes or sloughed skin cells, bits of dandruff, perhaps, or perhaps merely an optical illusion, her own blood moving behind her cornea, illuminating the defects, snags, infinitesimal genetic mutations in the sticky fabric of her eye.

The interval of idleness grew longer. Was it possible there would be no class today?

Clare Keane dreamed she was still at the breakfast table. Her father was watching the coffee percolate on the stove. Annie (who in the dream was not really Annie) was stirring her cereal. Pauline was spreading soft butter on a pinch of sweet roll, covering her fingertips with it. Much to Clare’s surprise, Annie picked up her cigarette lighter which she had unaccountably left beside her plate and struck the flint three times.

“Good morning, all,” Sister Lucy said. She stood at the door, her index finger held under the three light switches as if (Clare thought) she was hoping to keep three little noses from sneezing. “In the name of the Father,” Sister began, as she walked in, not blessing herself because she held her crutch in one hand and her large leather briefcase in the other, “and of the Son.”

Overhead, the trio of fluorescent lights merely buzzed, then clicked, then flashed angrily, before coming to full, obedient light as Sister Lucy limped into the room. One by one, the girls raised their heads, touched a pencil, stored some books beneath their desks, praying with her all the while. Clare Keane had a red spot on her forehead, marking the place where her face had heavily met her forearm. Kathleen Cornelius closed her mouth.

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