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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“And yet, here you all are,” David Wallace said. “All on the same evening.”

Quietly, Professor Wallace slipped out of the room, through the door to what Annie guessed was the kitchen. She wished for the courage to join her, but felt the anchor of Grace, sitting beside her, who was now saying, “Yes, isn’t it funny?” and once more raising her glass.

“Great minds think alike,” Ben said, leaning over his lap on the small chair. Whether he intended to or not, he sounded bitter.

Mr. Wallace then questioned the three about their hometowns. Monica was from Long Island, too, and Nate from outside Albany. Ben was from Staten Island, “A city boy,” Mr. Wallace said, to which Ben replied, with a tilt of his beer bottle, “I hate New York City.”

David Wallace nodded, touched his silk cravat. They could now smell their dinner in the kitchen. “Unfortunate,” he said, as if resisting his own disappointment in the boy. “Yet understandable. No doubt you’re a Wordsworth fellow as well,” he added.

But Ben seemed to miss the connection. He glanced at Monica and Nate before he spoke. “What’s a Wordsworth fellow?” he asked.

Now David Wallace looked puzzled. “A fan,” he said, as if the word were a colloquialism he wasn’t quite sure of. “Of Wordsworth. Since you don’t like the city, I assumed you’d be a devotee of someone like Wordsworth. The romantics. The pastoral poets.”

Ben was looking at Mr. Wallace with what Annie had come to recognize as a particularly American look. He suspected Mr. Wallace was putting him on the spot and even before he’d demonstrated his own lack of knowledge, he was preparing his case for how useless what he didn’t know really was. “Wordsworth’s okay,” he said, with some caution. “I guess. I don’t know a lot about him.” So fuck you, was only implied.

Mr. Wallace asked, pleasantly, “Well, what inspired you to study in England then?” and Ben laughed once, through his nose, and raised the bottle in his hand. “The beer,” he said.

Nate dropped his head, amused at his friend. Monica leaned down over her lap to whisper something in his ear, her thick hair falling to shield them both.

Mr. Wallace turned to the two girls. “Well, that’s honest at least,” he said, although his face, Annie thought, also said he was sorry the conversation had taken such a boorish turn. He looked at both of their glasses. “Let me refresh those for you,” he said, gently, and took the glasses out of their hands, out of their laps. Grace said, “Thank you,” looking up at him, her throat and chin growing flushed. “It won’t be long,” he said, kindly. Annie knew he meant until dinner, but felt he might just as well have said, Till we’re alone again, the way Grace’s breath seemed to catch on the words. The way her fingers, reaching up to touch her frames, were trembling.

Just as he returned with their fresh drinks (over his shoulder, “Can I get you gentlemen another. Young lady?”) Professor Wallace came through the door again with a tray stacked with dinner plates and silverware and a huge pot that rilled the room with the woodsy odor of meat and mushrooms. In what struck the girls as marvelous choreography, one neither had ever seen in her own home, Mr. Wallace swung back into the kitchen and emerged with another large pot and then, without a single word of instruction between them, the two began to fill plates with pasta, to ladle sauce, to distribute plush throw pillows in silky Indian prints that seemed to appear miraculously from behind the couch. “You’ll want these on your laps,” Professor Wallace told the students. “To shorten the distance from plate to lips,” she said. She shook out huge napkins to place over each pillow; she might have tucked another just under their chins, the way they all, suddenly, with pillows and napkins and plates of steaming food on their laps, felt swaddled, childish and also cared for.

Mr. Wallace took his place beside Grace again, with only a napkin, no pillow on his knee. Professor Wallace made the rounds with a small glass dish and a tiny silver spoon, sprinkling parmigiana like fairy dust over each plate.

Then she sat with her own next to Annie.

“This is delicious,” Monica said. Nate had abandoned her knee and her lap and was hunched now over his plate. He may even have moved away from her a bit. “Oh God,” he said, looking up. There was a fleck of sauce on his chin. “So good.” It was a kind of moan. “The food in hall is so freaking bad.”

Professor Wallace smiled. “Poor dears,” she said. “I’m sure it takes some getting used to.”

Beside Annie, Grace was struggling with plate and pillow and fork and the stubby glass she still held in her hand and just as Annie was about to suggest she put it down, Mr. Wallace leaned over and took it from her and put it gently on the small table at her elbow. “There,” he said softly. “Easier to manage.” And Grace touched her glasses and nodded and said, “Thank you.” Now her skin flushed up over her chin and down, Annie noticed, the length of her plump, pale arms.

David Wallace was questioning them again. “Where are you going and where have you been?” he asked. Monica and Nate had been to Stratford and Bath and London. Annie and Grace to London and Stonehenge. Ben would be joining his parents in Dublin over Christmas. The girls wanted to get to Bronte country, of course. Ben’s father wanted him to visit the village near Dover where he had been stationed during the war. Nate was hoping to get to Pamplona in the spring. (Mr. Wallace turned to Grace and said, “Hemingway, you see,” as if it were an old joke they had long shared. He lifted her plate, and then her glass from the small table. Took both away and then returned with her glass once again full.)

When all the plates had been cleared, Professor Wallace brought a tray of fruit and cheese and placed it on the footstool, serving them again, this time using small plates painted with branches and birds. She recommended the Rambling Club at the university to all the American students. A lovely and inexpensive way to see the countryside. She would suggest, she said, kneeling among them, slicing a ripe pear, finding a focus for your travels. Historical, literary. Lawrence walked through the Pyrenees looking for roadside crucifixes. Read his essay. An American student once followed the route of Eleanor of Aquitaine. Another made a trip to the Hebrides, for Virginia Woolf’s sake.

“Something like that,” Professor Wallace said. She proffered the slices of ripe pear, the Americans reached for them, childish, Annie thought, grateful. Nate had scooted farther away from Monica, across the Turkish rug to the footstool. Closer to the food, but also to Professor Wallace’s feet.

“It’s nice to have a focus,” Professor Wallace said, taking the couch next to Annie once again. “It’s nice to see a pattern emerge out of travels that might, otherwise, seem random.” She turned to Annie, looked at her down her long nose, kindly, fondly, perhaps. “You might follow in Wharton’s footsteps, for instance,” she said. “Find that hotel in Paris where she was so thoroughly happy.”

“So thoroughly shagged,” David said, and only Grace laughed with him, her blush having settled in permanently now. He looked at the other men in the room. “We were discussing it earlier,” he said. “She’d been a married virgin, Edith Wharton.” He turned to his wife. “Until what age, Elizabeth? Forty-five?”

Annie saw Professor Wallace put her fingertips, forefinger and thumb, to a crescent of pear on her plate and hold them there, as if, briefly, measuring something. “That’s right,” she said without raising her head. Then she leaned a little into Annie, there was a hint of perfume on her velvet shawl. “Poor David,” she whispered and then, looking up, she said across the two girls. “My dear, I’m afraid your mind has been in that hotel room all evening.”

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