Joseph Heller - Closing Time

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In Joseph Heller's two best novels, Catch 22 and Something Happened, the narrative circles obsessively around a repressed memory that it is the stories' business finally to confront. We feel the tremors of its eventual eruption in each book even as the narrator frantically distracts us with slapstick improvisation. In his newest novel, Closing Time, Heller brings back the (anti-) hero of Catch 22, John Yossarian, and once again something horrific is building beneath his life and those of his generation and their century as they all draw to a close.
But this time it is not a brute fact lodged in memory, the something that draws its power simply from having happened. It is instead something that is going to happen-we're going to die-and it draws its power from-well-how we feel about that. The problem is that we may not all feel the same way about our approaching death, as we cannot fail to do about Howie Snowden bleeding to death on the floor of the bomber in Catch 22. We cannot really imagine our death. On the other hand, try as we might, we cannot help imagining Snowden. It comes down to a question of authority, the authority of an author's claim on our imagination. There is less of it in Closing Time.
It reaches for such authority by reading into the passing of the World War II generation a paranoid apocalypse in the manner of Thomas Pynchon and Don DeLillo. Yossarian's life goes into and out of a kind of virtual reality involving a Dantesque underworld entered through the false back of a basement tool locker in the New York Port Authority Bus Terminal. Beneath this underworld runs an underground railroad meant to provide indefinite protection for the elite of the military/industrial/political complex chosen by triage to survive the coming nuclear holocaust. As catalyst for that holocaust we are given a mentally challenged president known to us only by his affectionate nickname, the Little Prick, who is enthralled by the video games that fill a room just off the Oval Office, especially the game called Triage which enables him eventually to trip the wire on the conclusive Big Bang.
Heller's underworld has some fetching attributes. It is managed by George C. Tilyou, the Coney Island entrepreneur who ran the Steeplechase amusement park before World War 1. Tilyou died before any of the novel's protagonists was born, but the remembered stories about him and his slowly sinking house with the family name on the front step qualify him as a jolly major domo of hell, a man whose love for his fellows sincerely expressed itself in fleecing them. Now, below the sub-sub-basement of the bus terminal, he rejoices in having taken it with him, for his house and eventually his whole amusement park sank down around him. Rockefeller and Morgan come by and panhandle miserably for his wealth, having learned too late that their more conventional philanthropy could not sanctify their plunder or secure their grasp on it.
Other aspects of Heller's grand scheme are less successful. Two characters from Catch 22, Milo Minderbinder and ex-Pfc. Wintergreen, are strawmen representatives of the military-industrial complex, peddling a nonexistent clone of the Stealth bomber to a succession of big-brass boobies with names like Colonel Pickering and Major Bowes. Much of this is the sort of thing that killed vaudeville and is now killing "Saturday Night Live."
Against these gathering forces of death, Yossarian asserts his allegiance to life in a way that is by now a reflex of the Norman Mailer generation: he has an affair with and impregnates a younger woman, a nurse whom he meets in a hospitalization of doubtful purpose at the opening of the novel. Thank heavens, I thought as I read, that I belong to the only sex capable of such late and surprising assertions. But, as the euphoria ebbed, I had to admit that Yossarian's amatory exertions were more than faintly repulsive.
So the novel is disappointing where it hurts the most, in its central organizing idea. Why, after all, does Yossarian's generation get to take the whole world down with it? Well, it doesn't, really, and yet the veterans of World War II do have a special claim on us as they pass from our sight. This claim is more convincingly urged by the long first-person narratives of two characters who, we learn, moved invisibly on the periphery of events in Catch-22.
Lew Rabinowitz and Sammy Singer are non-neurotics whose stories reveal their limitations and, at the same time, allow us to see around and beyond them. This is harder to do with normal people, and Heller brings it off beautifully. Rabinowitz is an aggressive giant, the son of a Coney Island junk dealer, an instinctively successful businessman who lacked the patience for the college education offered him by the G.I. Bill, and who never comprehended as we do his own delicacy of feeling. Singer, a writer of promotional and ad copy for Times, is, by his own account, a bit of a pedant given to correcting Rabinowitz's grammar. Heller sometimes allows Singer's prose style to stiffen in a way that is entirely in character and that gives an unexpected dignity and pathos to passages like those that describe his wife's last illness.
Rabinowitz and Singer basically get more respect from their author than Yossarian and the characters who figure in his story. The two new characters tell us stories embued with an unforced humor and with the sort of gravity that attends good people as they come to terms with their mortality. And this goes for their wives as well, for both men make good and entirely credible marriages that last a lifetime. Yossarian should have been so lucky.

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He was seated with Melissa and Frances Beach at a table close enough to communicate with the Minderbinders and Maxons, near Noodles Cook and the First Lady, awaiting the arrival of the President. The chair reserved for Noodles at the table adjacent to Yossarian's was vacant. Angela, who wanted desperately to come, was not there, because Frances Beach would not allow her to be.

"I don't like myself for feeling that way," Frances confessed to him. "I just can't help it. God knows, I did that same thing myself, more than once. I did it with Patrick too."

Dancing with Frances, for whom he preserved that special shared friendship some might call love, he felt only bone, rib cage, elbow, and shoulder blade, no fleshly thrill, and was uncomfortable holding her. Dancing equally inexpertly with pregnant Melissa, whose plight, stubbornness, and irresolution were agitating him at present into an almost ceaseless fury, he was aroused by the first contact with her belly in her sea-green gown and lusting to lead her away into a bedroom once more. Yossarian peered now at that belly to ascertain if the plumpness was fuller or whether the corrective measures restoring her to normal had already been taken. Gaffney regarded him with humor, as though again reading his mind. Frances Beach at the wedding spied his difference in response and ruminated dolefully on her sad facts of life.

"We're unhappy with ourselves when we're young, and unhappy with ourselves when we're old, and those of us who refuse to be are abominably overbearing."

"That's pretty good dialogue you give her," Yossarian challenged Hacker, with belligerence.

"I like that too. I got it from Mr. Gaffney here. It sounds pretty real."

"It should sound real." Yossarian glowered at Gaffney. "She and I already had that conversation."

"I know," said Gaffney.: "I thought so, you fuck," Yossarian said without anger. "Excuse me, Olivia. We say things like that. Gaffney, you still keep monitoring me. Why?"

"I can't help doing it, Yossarian. It's my business, you know. I don't make information. I just collect it. It's not really my fault that I seem to know everything."

"What's going to happen to Patrick Beach? He isn't getting better."

"Oh, dear," said Olivia, shuddering.

I'd say," answered Gaffney, "he's going to die."

"Before my wedding?"

"After, Mrs. Maxon. But, Yo-Yo, I would say that about you also. I would say that about everyone."

"About yourself too?"

"Sure. Why not?"

"You aren't God?"

"I'm in real estate. Isn't God dead? Do I look dead? By the way, Yossarian, I've been thinking of writing a book too."

"About real estate?"

"No, a novel. Maybe you can help. It begins on the sixth day of creation. I'll tell you about it later."

"I'm busy later."

"You'll have time. You're not meeting your fiancee until two."

"Are you getting married again?" Olivia looked pleased.

"No," said Yossarian. "And I have no fiancee."

"Yes, he is," answered Gaffney.

"Don't listen to him."

"He doesn't know yet what he's doing. But I do. On with this wedding, Warren."

"He still hasn't come," reported Hacker, puzzled, "and no ond knows why."

Thus far there had been no hitch, except for the absence of the President.

McBride, dutifully, tirelessly, had seen to parking space for the automobiles and coordinated their comings with the arrivals and departures of the commercial buses, routing many in both groups to the ramps and gates on the third and fourth floors. The one thousand and eighty parking places in the garages overhead provided room for most of the nearly seventeen hundred and seventy-five limousines expected. Most were black and the rest were pearl gray. Other cars were diverted to the parking lot across the avenue, where the sidewalk was lined with shish kebob and peanut vendors and clusters of shoeshine stands with convivial old black and brown men who sometimes spent the balmy nights sleeping at their stands beneath beach, umbrellas. They made use of the basins and toilets of the terminal, ignoring the enduring artwork of Michael Yossarian explicitly banning "Smoking, Loitering, Shaving, Bathing, Laundering, Begging, Soliciting," oral sex, and copulation. The shabby street scenes were amusing to many crossing the avenue to enter beneath the block-long metal-and-smoked-glass canopy, who assumed they had been staged expressly for them.

Photographers covered every access on all streets of the landmark, as though the structure were under siege, and journalists had come from foreign countries. A total of seventy-two hundred and three press passes had been issued to accredited newsmen. This was a record for an American wedding. Forty-six owners of foreign publications had come as guests.

Invitations to the gala occasion had been delivered in envelopes that were stiff and square, for they were on platinum, and only Sammy Singer on the primary list of thirty-five hundred invited declined to come, courteously pleading prior commitment to a trip to Australia. Yossarian thought better of Sam Singer than ever before. The secret agents Raul and carrot-topped Bob and their wives were on hand as guards as well as guests. Yossarian had exiled them deliberately to distant tables far apart from each other; now he saw with indignant surprise at the wedding ahead taking place just then that both were nevertheless seated right there with him at his own table in the inner sanctum of the North Wing, close enough to keep watch while taking in the epic spectacle of which they themselves were a part, and that Jerry Gaffney, who'd not been invited, was there with his wife at his table too!

Someone somewhere had countermanded orders without letting him know.

As expected, the limousine crush began to form earlier than expected. By 6:00 P.M. many arrived who did not wish to waste an opportunity to be photographed before the thicker crush of people more important began. And many of those coming soonest, the First Lady among them, were eager to be there to ogle everything.; It was a feast for fashion editors.; Women were aided beforehand by a proclamation from Olivia Maxon that "no dress would be too dressy." They were grateful as well for a tip sheet from leading fashion stylists of trends in their forthcoming collections. The result was a glorious extravaganza of up-to-the-minute dress designing recaptured on camera with exceptional brilliance, in which the ladies took part confidently as both spectators and spectacles. While numerous tastes in fashion were displayed by the nearly two thousand women there, none of the women were out of style.

They wore everything from cocktail dresses to ball gowns, arriving in a blissful and iridescent shimmering of unlined linen with gold pinstripes and with fringes of Indian beadwork, in palettes that were pale, ranging in the main from ivory to peach and sea green. Leopard spots were a favorite pattern in chiffon skirts, or in organdy dresses with fringed hems, and on silk jackets. There were women in long evening dresses who were thrilled to see many other women there in long evening dresses, especially in dresses with fragile embroidery on crisp, pale silks. Short skirts were of prismatic chiffon too. Jackets were in pink, orange, and chartreuse satin decorated with rhinestones instead of nailheads, while sweeping black point d'esprit overskirts showed the knees in front and dripped to the floor in back, and those bold enough to have guessed right were especially proud of their sexy matte jersey evening clothes.

After champagne, caviar, and cocktails, and well before the bride and M2 had appeared, the lights in all wings of the bus terminal were lowered sacramentally and everyone took a seat; around one of the five stages closest at hand to listen to a gifted violinist the age of a young Midori and four clones play Paganini caprices in each of the places. It was not possible to tell the original from the clones, and no prizes were awarded for correct guesses, Christopher and Olivia Maxon could be seen in the flesh and also larger than life on the closed-circuit television screens as huge as those in a cinema house. They were in the front row on the far right on the main floor of the North Wing, and all guests there and elsewhere suddenly noticed that a single spotlight seemed to have been positioned to shine directly down upon Olivia, who sat with her hands clasped together and a look of poised rapture on her illustrious face. As those in the Communications Control Center could see on the screens flashing to newsstands, she was already being described in a current future issue of U.S. News amp; World Report as "the queen of nouvelle society." And Time, The Weekly Newsmagazine would write, as they saw displayed at the newsstands inside the terminal kept open just for them, that "Olivia Maxon is a princess in the new social order, and the bus terminal is her palace."

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