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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Some vestige of his race or of his sex made him think, whenever he looked out across the ocean: As it was before me and as it will be long after I’m gone. For the second time today, he touched his thumb to his fingertips. He could make it to the 1980s or 1990s, perhaps even to the next century, when the new baby would be grown, maybe with children of his or her own. But even with the best of luck, it would not be equal to the time he’d already spent.

He called to them. “Come up,” he said against the wind. “Your mother wants you up.”

The wall of sand the sea had made, the cliff, the collapse, seemed smaller now with their father standing on top of it, his hair raised in the wind. They scaled it quickly, in wide strides, their arms pumping.

He put his hand out to his daughter, pulled her up easily over the edge. And then bent to gather the shoes and toys, swinging the canvas straps of the two toy machine guns over his shoulder (surprised to find that some mistaken memory had caused him-momentarily-to be surprised to find they had no weight). Jacob, the oldest, ran to retrieve the cardboard lid while Michael, his brother, lifted the shoe box, shifting the contents-green army men, toy bayonets, machine gun, camouflaged jeeps-taking roll.

With his thumbs hooked over the lid, the boy carried the box up the beach, behind his father and brother and sister, feeling the drag of sand but feeling, too, that with a small effort he could overtake them.

Their mother stood at the base of the dunes, her hands seeming to cup her broad face as she waited for them.

“Back here,” their father said. “We’ll be out of the wind.” And once more gave his wife his arm. The children ran before them, the boys running up and down the sides of the dunes, sand slipping, as if they had no choice in the matter, as if the world itself were tilting, the little girl imagining shipwrecked and island-lost, and only her father’s cleverness (there were guns slung over his shoulder) to keep them safe and warm.

The plaid blanket was already spread in a gap between the dunes, the tufted pillow on it, the lunch hamper, and the teddy bear who had not been lost, not drowned in the wreck, after all. She threw her arms around it, an extravagant reunion. “If it weren’t for me,” her mother said dryly, smiling, “you would have left him behind in the car.”

Too soon to eat, they agreed, and her husband gallantly gave her his hand again as she lowered herself to the blanket, first onto her knees and then, carefully, onto the pillow. Straightening himself, he palmed the football like a younger man and called the boys to follow him out to the beach.

She leaned back on her palms, the wool prickly against her skin and already dusted with sand.

There was the now oddly distant knock of the waves against themselves and the softer yet similar sound of the football meeting their hands. There was her husband’s voice, Go out, now, Keep your eye on it, Good, and the voices of the boys, mostly complaining: My turn, Hey, Interference. The ball a kind of shadow passing before her, between them, across the sun itself or so it seemed.

Annie, her daughter, had claimed the corner of the blanket, sitting perversely, her mother thought, with her back to the ocean and to her father and the boys on the windy beach. The worn bear (cherished now that she had recalled its existence) on her lap. She was not speaking, but her lips moved and her eyes were clearly engaged in a conversation of some sort-she frowned, she shook her head-and despite the echo of the ocean falling down on itself, the slap of the football in their hands, and their voices, carried on the wind, it was this conversation as it played like light across her daughter’s features (she raised her eyes, made them smile) that absorbed the mother’s attention.

Mary Keane watched her daughter and felt as well the punch and turn of the baby not yet born and saw the similarity of the mystery of them both-the baby unseen, moving an elbow or a foot, the means to an end all its own, unfathomable; her daughter with the unseen life playing like reflected light over her face, her lips moving in a conversation forever unheard.

She slipped her hand under her belly, shifted her weight on the pillow, and looked up to see the boys returning, windblown, kicking up sand. Her husband behind them, boyish, too, with the red flush across his cheeks and the thinning hair scattered every which way across his head. The baby rolled, roiled, beneath her ribs and the beach grass shuddered in the wind. He sat beside her heavily, while the two boys fell on the shoe box full of soldiers, carrying it off to the foot of another dune-for this had been their plan all along, to restage Okinawa or Omaha Beach, continuing the war game they had begun last night in their room, across the sheets and blankets and pillows of their twin beds, in one of those hours of grace when they had not quarreled and their parents had not called to them to put out the light. They had named each member of their platoon-Murphy, Idaho, Sarge, Smitty-ambushed some Germans, and collected commendations from Patton himself. This morning when their father had come into their room to say, “We’re heading for the beach,” the dissolution of the plans they’d made to continue the push toward Berlin right after Mass was quickly compensated for by the possibility of dune and sand-Okinawa, Omaha Beach, North Africa and Rommel.

It was their father who had put the football in the trunk.

Now they scattered their men across the sand and among the bending stalks of sea grass. Their sister heard the changed pitch of their voices, the harsh and breathy pitch they used when they were speaking for someone else in an imaginary game. She rose to join them. The bear was still in her arms but once again forgotten.

“Can I play?” she asked finally, understanding, even at six, that the timidity of the question invited a single reply.

“No.” Looking to each other, not to her.

She watched them. The orders they barked were low and intimate, running under the sound of the wind.

“Can I have a man?” she asked.

“No,” again, but now their parents on the blanket together looked toward them.

“Boys,” their father said, a warning. And a single green soldier was plucked from the shoe box of reservists and replacements and tossed her way, through the air. She picked him up from the sand. The mold had shaped his features precisely, a strong jaw and a sharp nose, the little combat helmet and a sash of ammunition across his chest. Unlike the men her brothers preferred, this one had no rifle pressed to its shoulder, no hand grenade about to be thrown, but stood instead with his arms extended from his sides, palms out. His head was slightly raised, as if whatever he confronted was still at some distance, and was larger than just another man.

His name was Steve. Steve Stevens. And he was a scout, sent ahead. Alone.

She moved him through the sand, up over the boulders and hills that were the arms and legs of the bear.

John Keane, leaning over his knees, watched the children carefully, seeing that they behaved and then, reassured, allowed himself to lie back on the blanket. The sky was blue. They were nicely out of the wind. He placed his fingertips on his wife’s back, just lightly. The football had reminded him that he was not (he would have said) entirely pleased with the behavior of his two sons. It upset some notion he had of order, of rightness, that Jacob, the older, was the smaller of the two, the lesser athlete, the lesser student. It made something unkind, even cruel, about Michael’s efforts to outdo him. Michael’s triumphs over his older brother-and the self-satisfaction they brought him-came too easily. Jacob’s defeats seemed too indicative of a certain kind of future.

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