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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Annie flushed the toilet and turned the water on in the sink. The guest towels were starched linen, old-fashioned and neat. There was a ceramic clamshell with a small cake of fragrant soap. She wet some loo paper, making a compress of it, and handed it to Grace. “Put this to your lips,” she said. “It will make you feel better.”

But Grace merely held it in her hand, the hand still in her lap. She let her head fall back against the wall, the tears falling freely. “Oh, God,” she said. “Oh, God.” Her shoulders were shaking with her sobs. Her face was terrible, the pale, myopic eyes and the torn mouth, the short forehead and the bloated cheeks. “I love him,” she said. “I’m so in love with him.”

Annie smiled a little. “Oh, come on,” she said, gently, the way you do, the way she’d done before, to a drunken girl crying. “You don’t love him.”

But Grace put her fist to her soft stomach, and then to the space between her breasts, as if the love were lodged there and so there was no denying it. “You don’t understand,” she said, sobbing. “I’ve never had a boyfriend, nothing, no one. I’m ugly and stupid and fat.”

“You’re not,” Annie said. She crouched down beside her. “You’re pretty, you’re brilliant.”

But Grace pressed her fist into her breast as if it were a dagger, leaning over it to bring her face to Annie’s face. There were wet flecks of her dinner at the corners of her lips. “You don’t understand,” she said, ferociously, her eyes both furious and oddly unfocused-or focused, perhaps, on something other than what she saw. She was grimacing, showing her teeth. Annie would not have been surprised if she had punched her. “I’m lonely,” she said; she seemed to extract the words from the place her fist had pierced. “I’m completely lonely.” She slowly tilted her head in that gesture of hers: she wasn’t making herself clear. Her eyes were a blur of tears. “I’m lonely,” she said a third time, and then collapsed back again, into her tears.

After some minutes, Professor Wallace rapped at the door and asked, through it, “Is everything all right?” Annie said, “Yes, thank you,” and Professor Wallace asked, gently, “May I come in?”

Annie began to stand, but Grace grabbed her wrist, looked at her through her red eyes, and then let her go. Annie opened the door and began to say, “Grace isn’t feeling too well,” when Professor Wallace looked beyond her to Grace on the floor and said, “My dear girl.”

She was in the room, touching Grace’s forehead, then helping her to stand. Grace was still crying but more gently now, as Professor Wallace said, “Silly girl,” and led her out. The other Americans had left and all signs of dinner had been cleared away and the couch she and Grace had been sitting on was now made up into a bed, fresh floral sheets and a comforter and a blanket and a crisp-looking pillow.

“Well, you’re not the first,” Professor Wallace was saying, getting Grace to kick off her shoes. “My husband is known to be a bit liberal when he pours. Poor girl.”

Annie stood by the velvet chair as Professor Wallace pulled back the sheet and fluffed the pillow for Grace, who was still crying but seemed weak with it now, not ferocious. “He’s so beautiful,” Grace said, a cartoon drunk. “You’re both so beautiful.”

“Yes, well,” Professor Wallace said. “Drink will do that.” She glanced at Annie, perhaps to assess how sober she was. “If I don’t keep an eye on him, my husband will get everyone who enters blind drunk. He believes he alleviates suffering.”

There was a satin bathrobe thrown over the back of the velvet chair, but Professor Wallace didn’t mention it as she guided Grace onto the couch, between the sheets in her clothes. Grace crawling in like a weary child. “I’m so in love with him,” she said as her head touched the pillow, but now she said it as if he were merely a character in a novel, as if the love were merely a source of comfort and delight. Merely a part of the delight she felt at the moment, with Professor Wallace shushing her like a child and touching her face. “Silly girl,” she said again. “Is the room still spinning?” Grace, the good student once again, shook her head. “Only a little.”

“There’s a basin here,” she said, and indicated the ceramic bowl at her feet. “If you’re sick to your stomach.”

Grace smiled a little, her cheek to the pillow. “Thank you,” she said.

Professor Wallace looked down at her, almost fondly, and said again, “Silly girl.” She turned to Annie. “I can set up a cot for you if you’d like to stay as well. You’re more than welcome.”

But Annie shook her head. It wasn’t that late, she said. She’d get the bus.

“David will walk you down,” Professor Wallace said and as if on cue, David appeared in the far doorway, creeping softly into the room. “Everything all right?” he asked. He looked over the back of the couch to Grace, who Annie knew was only pretending to sleep. “Poor child,” he said, and Annie was certain Grace smiled.

David Wallace walked her to the bus stop, offering her a cigarette as he did. They stood smoking together as they waited. In the wet lamplight, with his collar turned up, he was even more handsome. He chided himself for pouring Grace too many whiskeys, and then praised Annie for handling her wine. “She leans on you a bit, does Grace,” he said gently. “You’re kind to be good to her.” Annie shrugged. At the end of the street there was a large crescent moon, rolled over on its back. She was thousands of miles from home, across a vast ocean, out on a wet night in a strange country, and standing next to a beautiful man whom, in another life, she would have loved. He threw the cigarette into the street as the bus approached. “Or good to be kind,” he said softly, “whichever you prefer.” He smiled at her and she smiled back. He waited until she had taken her seat inside before he turned to walk away, back to the house and the room with the books and the cats and the music and the rugs, pate and Chianti, and a woman whose name alone lights up his handsome face. And Grace, tonight and tomorrow morning when she woke, snug in the middle of it all. No matter who leans on whom, Annie thought, it was Grace who, tonight, had gotten what she wanted.

She put her head against the cold window. She had said Edith Wharton because she saw herself as a woman alone, square-jawed and mannish, making do, but she had been wrong. Edith Wharton had been both married and then, at a later date, madly in love. But it hardly mattered. She had seen tonight that she was a woman alone because their life was the one she wanted and she couldn’t have it. She could imitate: she could adopt Professor Wallace’s wry smile, she could fill her rooms with books and cats, she could find a man with ginger hair, but it would all be just that, an imitation, a diminished version of the unattainable original. Elizabeth and David Wallace themselves, precisely, was what she wanted: his eyes looking over her knees, her clever mind. Their exact lives in that exact place, not some substitute, and suddenly she found her eyes filling with childish tears, like Grace’s tears, tears of utter, miserable despair.

It was a despair she already understood because she had also, once, wanted a life with both her brothers in it.

Suddenly, a boy slid into the seat beside her. He was scruffy-looking, a sparse beard over his pale cheeks, long hair, a long black coat. She had seen him as she got on, his feet up on the seat beside him, his back to the window and his eyes closed; she had instinctively avoided sitting opposite him. He leaned into her. “Are you all right?” he said. Aww right. She looked at him over her shoulder. His eyes were black with long lashes. He smelled heavily of cigarette smoke and beer.

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