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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“Well, good,” he said. He had picked up another piece of loo paper and was holding another glass up to the golden lamplight. “We’ve had two Americans from Binghamton here in the past two weeks and I think I’ve learned all there is to know about the place. State University,” he said. “Three hours to New York.”

“That would be Lydia,” said Grace, the good student. She touched her index finger to her cheek, tapped it, raised her eyes to the shadowy ceiling, pantomiming thought. Then Grace pointed the index finger at Mr. Wallace. “And Kevin Larkin,” she said.

He raised his eyebrows. “Right you are,” he said. “Kevin. Rugby player, all taken up with Rupert Brooke.”

Grace popped again. “That’s right,” she said.

“And Lydia,” he went on. “Pretty girl. Mad for Wordsworth.”

“Yes,” Grace said, warming to the conversation. He was, after all, more or less sitting at her feet. Annie thought only of what a thing it would be to hear Mr. Wallace say of her, “Pretty girl.” Lucky Lydia. She sipped her Chianti. She supposed it was the way it was meant to taste.

“But Buffalo,” he said. “I’m not sure we’ve had anyone from Buffalo yet. What’s it like?”

Grace was now clutching the stubby glass in both hands, leaning toward him. “Boring,” she said and barked a short laugh, the ends of her blunt-cut hair swinging forward along her chin and then swinging back. She touched her glasses, returning to the more successful serious student guise. “No,” she said. “It’s nice, I guess. My parents like it. I have a lot of family there.” She hunched a little more. Her head snapped to the right for just a second. It was a curious little tic Annie had seen in their tutorials; it meant that she felt her point was not yet made, that she knew her intelligence had not yet burned through the obscuring fog of her plain, chubby face. “It’s where Dick Diver ends up in Tender Is the Night” she added. “It has that going for it.”

Examining the row of glasses before him, Mr. Wallace raised his eyebrows when she said Dick Diver, and then placed his hands on his brown corduroy knees. It was likely that he was somewhat younger than his wife. He leaned toward her, rolling on his haunches. “And is it Fitzgerald you’re mad for?” he asked. “You wouldn’t be the first American to come to England to study Fitzgerald, or Hemingway. You’re all mad for Hemingway as far as I can tell.”

But Grace sat up a little straighter. It might have been in imitation of Professor Wallace-as much as a girl like Grace could aspire to imitate Professor Wallace. “I’m not, really,” she said. And then added, “I love Spenser.” She touched her glasses again and took another nip at her whiskey.

What a smile he had. While his wife’s had been thin-lipped and wry, forgiving, insightful, his was warmly amused, reservedly delighted. He had, Annie was convinced, the best teeth in all of England. A boon, she thought, for the entire nation’s dental gene pool. “Well, you’ll be teacher’s pet then,” he said. “At least for Elizabeth,” his smile grew a bit wider, a sparkle, at his wife’s name. “Spenser’s her man.” Annie thought the smile more charming still if its source was not Grace’s declaration but his pleasure at hearing his wife’s man championed, or perhaps, more simply, the pleasure it gave him to say his wife’s name.

Suddenly she found herself both fully enchanted and heartsick. To live, as these two did, in a comfortable, warmly lit room full of velvet chairs and old books, with cats and, yes-she was only just hearing it, or perhaps Professor Wallace had just put it on in another room-classical music playing softly somewhere, low enough for conversation, loud enough to add romance to the air. To reach over your knees at the end of a day, the book falling from your lap, to take such a man’s handsome face into your hands. It was a life from a novel. It was a still life, beautifully arranged. It was a life she’d never attain. When he turned to her and said, “And who’s your man?” she said, “Edith Wharton,” without thinking and without an inkling of truth in it, her only impulse being that she should name a woman, since the life she wanted-their life-was all unattainable and she must begin to prepare herself to be a woman alone.

She glanced quickly at Grace to see if she would contradict her, but Grace had the glass to her lips again, her eyes on David Wallace. Annie imagined Grace felt it, too: the enchantment and the despair.

Professor Wallace swept into the room with a large, tufted footstool held high in her hands, like a farcical English maid with a tea tray. “Edith Wharton?” she said and then spun a little, her long skirt flaring, her little leather boots. “How interesting,” and then, “David, my love,” in that way she had of speaking in soft asides, “you’ll have to move your glasses and your loo paper so I can put this down.”

With a kind of salute, he stuck the roll of toilet paper under his arm. Leaning forward, he moved a few of the glasses, one at a time, as if they were chess pieces, to the side of the couch, and then gathered up the rest in his hands, the crystal clinking, and placed them and the paper on a side table. “Careful,” she said. “Always,” he told her. And then, so smoothly, he was on his feet again, taking the stool from her hands.

He lowered it to the ground. It was a maroon upholstered footstool with four wooden, turnip-shaped legs and on it were half a dozen small plates, black cloth napkins, a silver bowl of olives and celery, and a small black crock containing what Professor Wallace announced was pate. She handed a napkin to each of the girls, smeared a tablespoon of pate onto each little plate, added some olives and some thin crackers, all the while saying, “Although she married fairly young I think it’s well accepted that she was a virgin until she was somewhere around forty-five.” She gave Annie a little plate, and started putting together another. “She’d divorced her husband at last and fallen madly in love and taken up residence with her lover in Paris. Forty-five or so.” She handed the plate to her husband, who was now in a small chair at Grace’s side.

“It appears she wrote Ethan Frome while in the midst of a girlish middle-aged passion. Which has always struck me as curious, given the short shrift she gives poor Mrs. Frome, with all her middle-aged ailments.”

Professor Wallace spun around again in her soft little boots and then took the other corner of the couch. Grace was smiling at her, ogling, Annie would have said. There was a lightness about Professor Wallace at home, a physical buoyancy she didn’t have in the lecture hall. It made it seem possible that she was not older than her husband after all. “A lesson for you girls,” she said, looking up, “in matters of the heart.” She raised her long nose and trilled the word. “Patience,” she said.

But David laughed. “Surely, Elizabeth,” he told her, “you’re not making a case for forty-five years of virginity.” He smiled at both girls, full knowing, it seemed, that if there were sides to be on, they were on his. With his handsome face before them, forty-five years of virginity seemed worse than cruel. “I’d call that corrupting the morals of a minor,” he said and his eyes flashed. They sparkled.

There was the sound of Grace’s whiskey glass colliding with the bridge of her glasses.

Professor Wallace smiled her wry smile at her husband and then seemed to sip the air the way a bird sips water, her throat all exposed. “Surely I’m not,” she said. And then she turned her head, regally. “But Annie must tell us,” she whispered, “what it is about Wharton that she loves.”

She felt all their eyes on her. Felt suddenly like a bird herself, a baby bird, helpless, wordless, her mouth opened. The truth was that she had read very little of Edith Wharton. Had thought, until a few minutes ago, that Edith Wharton was a spinster, homely and professional (she recalled a mannish jaw, a heavy pile of dark hair), with no exquisite husband waiting for her at home. It was the sole reason she had said her name. She had a vague memory of Ethan Frome, of laughing at it. Suicidal sled rides. Sex and death. She couldn’t recall finishing The Age of Innocence.

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