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 there was comedy in this too, in the musical accompaniment-the scales that drew them to their first, stale-mouthed kiss followed by the inept and repetitious beginnings of some vaguely familiar but as yet unrecognizable piece as they shyly (still) got out of their pajamas. And then ineptitude giving way, on all their parts, to a certain confidence, even grace.

Did he hear it, she wondered as she glimpsed her husband’s face through half-closed eyes and saw what was quickly becoming a familiar look: a kind of determined concentration, a grimace to the lips, and a far-off gaze to his eyes that marked a consummation that she was beginning to suspect turned him in on himself far more than it would ever turn him out toward her. She imagined it was akin to the look the piano player upstairs wore as he worked the keys, that kind of crazy-eyed focus on the task that could obliterate all distractions, even the very instrument under his hands. Does he even hear the music, she thought, arching toward him as he labored above her. Does he even see my face?

This was something she had never anticipated before she was married, the painful, physical struggle he seemed to wage with himself in the course of their joining. She had thought it would all be whispered endearments, only pleasantly breathless. She was surprised to learn that there was labor in it, pain and struggle as well as sweetness.

There was still more music to listen to after they had fallen apart. She thought she was beginning to recognize some refrain, or maybe he was just going over the same notes. With her eyes to the ceiling she said, “It’s a baby grand.”

Her husband turned his head on the pillow. He might have been startled to find her there. He frowned, and then hesitated, and then whispered, disbelieving, “You can tell already?”

There was one window in the corner of the bedroom, its sill worn to velvet, looking like velvet even in the weak, winter morning sun that came from beneath the wooden blinds and marked the new day. Another day. She grew giddy with laughter, convinced as she was, and would remain, that there was portent in his misunderstanding, that their child’s life had indeed begun at that hour. Their baby grand, first of four.

II

Either the wind kept them all away or the entire population took to heart the notion that the beaches were closed after Labor Day. In the deserted parking lot, on a Sunday morning that was only, after all, in mid-September, the wind moved a thin scrim of sand across the bleached asphalt, brushed it along the ground in wide, crossing arcs that thinned and ebbed in much the same way the beige sea foam thinned and ebbed at the edge of the beach that was just beyond the trees.

The wind took the sound of the slammed car doors, the slammed trunk, and sailed it off like a black scrap, over their heads, back toward the long highway and the crowded towns and the churches on shaded avenues choked with parked cars. It took their voices, too, but more gently. The parking lot was empty and so there was no need to cry out after the children as they ran ahead.

“Not a soul,” Mary Keane said to her husband, the wind lifting her words, tossing them gently back over her shoulder, the way it moved the colorful tails of the scarf she had tied under her chin. In her arms she had bundled a wool blanket and a tufted pillow and a stuffed bear, and her husband stepped in front of her to take everything from her arms at once, leaving only the bulge of her belly under the green canvas car coat.

“They’re all in church,” he said and saw the flush of guilt, or of wind, on her broad cheeks. The wind lifted his own thinning hair-those long strands he combed back over his crown-made it stand, briefly, on end.

Something done right-at least so far-this suggestion of his, whispered to the ceiling this morning, his hand on her thigh. That they skip Mass just this once and head to the beach.

Some weeks ago, a tropical wave had slipped off the African coast, as if (he’d thought, reading the account) the continent itself had shuddered, and moved into the waters of the south seas, stirring the ocean and the air and the various inhabitants of small islands and southern shorelines, until finally it woke him this morning at dawn with the sound of the wind in the eaves, with some memory or dream of the Ardennes, and a hankering to see what the shudder of a continent did to the waters off Jones Beach.

Across the ceiling of his bedroom, the dawn had appeared to be made up of reflected light, light that moved with the rise and fall of the wind as if it were light reflecting off water-although the house was ten miles from any shore, smack in the substantial heart of his own spit of island, and even the neighborhood backyard pools had been drained and dismantled.

Beneath this watery light the room itself was in steady shadow. His wife was beside him, buried in pillows. He was fifty-one and would be a new father again by the end of the year. This morning, woken by the wind, he had put his thumb to each fingertip, counting decades.

The children ran ahead. A white trail of sand cut through the scrub pine and the yellowing beach grass, rising across the dunes and then dropping down again to the wide white beach that then itself dropped down again, sharply, a kind of cliff, a kind of collapse-the way the children felt their breaths collapse, coming to its edge, to the terrific thunderclap of the ocean.

The sand here, at their feet as they looked down from the dry cliff, was dark gray, the color of a thundercloud. The children bowed, putting down their toys (plastic machine guns, a football, a shoe box filled with green army men and small, camouflaged jeeps), unlaced their sneakers, and jumped down, arms raised, heels digging into the falling sand of the seawall.

Not a soul.

At the foot of the dunes, John Keane dropped the wool blanket and the tufted pillow and the teddy bear, unhooked the quilted hamper from his shoulder and his wife’s hand from the crook of his arm. He felt the wind raise the sand and fling it, stinging, into his cheek, saw his wife pull the folded edge of her scarf over the side of her face, turning away from him and the blowing sand.

He picked up the wool blanket and moved it farther inside the dunes, to a shallow valley where even the sound of the moving air seemed suddenly to retreat. He spread the blanket, walked out again to lift the tufted pillow and the bear and the plaid quilted hamper, then returned a third time to give her his arm.

She stood, holding the edge of her colorful scarf over her cheek, shading her eyes with the other. Her face made harsh and unlovely by the sand and the wind and the deep line between her eyes.

“Sit back here,” he said. “You’ll be out of the wind.”

Under her chin, the bright red-and-blue tails of her scarf rose, writhed, paddled the air. “I can’t see them,” she said.

He looked toward the ocean, the forlorn image of the abandoned sneakers and toys-the shoe box had already lost its lid-at the edge of the known world where the sand disappeared and there was only water and sky.

“I’ll tell them to come up,” he said and knew she would not move-some vestigial habit of her race or of her sex, this frowning vigil at the edge of the sea-until he had returned them to her sight.

He crossed the wide breadth of beach, hearing their voices coming to him on the wind before he saw them at the shoreline. The two boys were stamping at the creamy edges of the waves-making small explosions of water and wet sand-his daughter down on her haunches, examining something, a mussel or a crab or just the mysterious, bubbling holes that opened and closed like mouths under the retreating waves.

Beyond them, the ocean was high, whitecapped, agitated. There were disks of black and gray as well as gold among the rushing swells. In the panhandle, in the Carolinas, metal blinds had been drawn, iron awnings brought down on the white houses that were bunkers now, among the palm trees and the flamingos. But here the sky was mostly blue and clear, except for a few white, rushing clouds just above the horizon.

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