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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He threw back his head and shouted a laugh. “It has!” he said. “Isn’t it odd?” Now Professor Wallace was laughing, softly. If Annie hadn’t been sitting beside her, feeling the laughter through the velvet shawl, she would not have known that was what she was doing. On her face, there was only that wry smile. David made a gesture that encompassed the room. “Three young beauties here for dinner and I’m a voyeur in some Parisian hotel room, wondering what it was like. I mean, at forty-five, Elizabeth. Think of it.”

“It was just as it would have been at twenty-five,” Professor Wallace said warmly, and now another kind of mad, sexual transaction was implied. The Americans suddenly felt they had vanished from the room. Monica had Runty in her lap and she paused with both her hands in the cat’s fur. Nate on the floor, an elbow on his raised knee, held a forgotten piece of cheddar in his hand. Ben bowed his head, as if in deference to some sweet intimacy, and Grace-Annie was sure of it-raised a knuckle to her glasses to hide a tear. “She was in love, darling,” Professor Wallace said softly. “I can tell you without hesitation what it was like. It was marvelous.”

David Wallace smiled at his wife. It wasn’t an imaginary hotel room he was thinking of now. “I’m sure,” he said. “I’m sure you’re right.”

After the fruit and the cheese, there was a chocolate gateau and the box of candy the girls had brought, and Ben’s Drambuie. Professor Wallace ran the small glass of it under her nose and closed her eyes and then told them that when she was a child her grandmother had kept a decanter of Drambuie on the table in the front hall. During the war, she said, after they’d been down in the cellar for an air raid, she and her cousins, who had also been sent to the safer distance of their grandparents’ little farm, would come up the stairs and into the hall, where their grandmother would give them each a teaspoonful of the liqueur, to reward them, or to prepare them for sleep, or only, perhaps, to steady her own nerves. Professor Wallace closed her eyes and put her lips to the glass. “It comes back,” she said after she had drunk. “That time.” She opened her eyes. “We would wrap ourselves in blankets and dressing gowns. In anticipation, I suppose, of shattered glass. My grandmother would divide us into groups of three, two children and an adult, my grandfather, my mother, herself, my aunt. Each adult with a child under each arm, scattered to different corners of the cellar, in case.” She sighed. “In case, I suppose, some part of the ceiling came down, not, one would hope, on us all.” She paused again. Annie recalled her own family, huddled in the basement, long ago. Milk that tasted like candles in their mouths. A tree had fallen. Forever after, Jacob had kept a flashlight by his bed.

“You must have been scared to death,” Monica said.

Professor Wallace shrugged. “I was very young,” she said, as if to acknowledge that the memory might be flawed. “I don’t recall being frightened at all, only thrilled. By the adventure. Even when we could hear the bombs, the whistle and the long silence-the worst part of it, people have said, that terrible silence before the impact-I don’t know that I ever cried.”

“Brave girl,” David said. But Professor Wallace shook her head.

“It wasn’t real, to a child,” she said. “The danger wasn’t real. You’re all sensations at that age, aren’t you? The smell of the cellar and my grandfather’s pipe smoke on his clothes. Oh,” she said and touched her jaw, “and the satin collar of my dressing gown. That’s what I remember. My cousins and I would look across the darkness at one another as if to say, Isn’t this something, what do you think will happen next? The way we might have glanced at each other in the middle of a film or a play.” She ran the small glass under her nose again. “And then the teaspoon of Drambuie. Like a little jewel. I’d hold it in my mouth for as long as I could.” She took another sip, pursing her lips and drawing down her long nose. “It comes back,” she said again.

They were all watching her, even her husband. Enchanted by her, her voice and gesture, and as if she suddenly noticed this, noticed how they were all watching her, even her husband, she raised the little glass and grimaced, freeing them from the spell she herself had cast. “What can be more tedious,” she said with a laugh, “than someone else’s childhood?”

“It’s kind of disgusting,” Nate said from the floor, and for a moment they all believed he was agreeing with her. He looked up. “How long it took the United States to notice you guys were getting the shit bombed out of you by Hitler.”

“Really,” Monica said, agreeing, shaking her hair. “We knocked ourselves out to save bloody Vietnam but we sat back while London got blitzed.”

Beside Annie, Grace raised her own little glass, gulping the Drambuie as if she had to catch a train. She had, Annie knew, no interest in politics or current events. In their tutorials she had announced more than once that history had meaning for her only as far as it pertained to Henry V or A Tale of Two Cities. On its own, she had said, it was all circumstance and repetition, temporal, not eternal. No more significant than the weather.

“Nixon sucks,” Ben was saying.

“LBJ sucked, too,” Monica added.

From across the room, Ben said, “Spiro Agnew.”

Both Professor Wallace and her husband were nodding, tolerantly, as if the Americans were merely complaining about their parents.

“At least in World War II we knew what we were fighting for,” Monica went on, as if, Annie thought, she and General Eisenhower were contemporaries. “At least there was Hitler.”

“At least,” Ben said, “we won.”

Grace touched her glasses and then dug her elbow into Annie’s side. She put a hand to her mouth and whispered from behind it. “Come with me.” Annie stared straight ahead for a second. What an effect it would have on the assembly, she thought, were she to say, “My brother.” But she felt David Wallace’s eyes on them as Grace poked her again. “Please,” she said and stood quickly, swaying a little as she did, in the narrow space between the couch and the big footstool. Against her will, Annie stood, too. They both sidestepped past the couch and between the small table with the lamp and Mr. Wallace’s knees. Gallantly, he held a hand out to Grace as she made her way around him. She touched it briefly. Before either girl thought to ask, Professor Wallace told them, “It’s just through that door there, first on the right.”

Annie followed Grace into the small bathroom. She shut the door behind them both and leaned back against it. “Are you going to get sick?” she asked. Grace nodded. She was already heaving a bit, hyperventilating, her glasses fallen down her nose and her pale skin greenish behind the spilled red of her flush. Annie leaned forward to lift the toilet seat. She stepped back again. “I’m here,” Annie said, imitating her mother. Grace leaned down, heaved a bit, then knelt and vomited her dinner into the toilet. Annie turned her head away, and then, reluctantly, stepped closer to the girl to hold back her hair. Grace’s neck at the nape was thick, her hair thin and almost weightless in Annie’s hands. “You’re okay,” Annie said. This, too, was what her mother said to her sick children. “You’re okay.”

When she had finished, Grace flopped back onto the tile floor, and Annie could tell by the way her body fell that she was ready to give up all pretense of sobriety or control, that it was not merely drunken spinning that made her collapse, but a long-awaited giving in to despair. She pulled off her glasses, dumped them in her lap, gulped some air, and then, unabashedly, her legs folded in front of her, her arms limp at her side, she began to cry.

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