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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33 Entr'acte

Milo lost interest quickly, flew off on business, and was out of the terminal when the alarm went off, not safely underneath it with Yossarian.

"Where is Mr. Minderbinder?" McBride was asking, as Yossarian came through alone to the landing on which he stood with Gaffney.

"Off to get more skyscrapers in Rockefeller Center," Yossarian reported with derision. "Or build his own. He wants them all." Someday, Yossarian thought as they descended the wrought-iron staircase, those monstrous hounds stirring now might really be there; and what a final tricky surprise that would be! They had found all the elevators, McBride told him, exulting. Michael and his girlfriend Marlene had wearied with waiting and had gone far down below with Bob and Raul. McBride had something else to show Yossarian.

"How far is far down?" asked Yossarian, humorously.

McBride tittered nervously, and, shiftily, answered over his shoulder. "Seven miles!"

"Seven miles?"

Gaffney was amused by these yelps of astonishment.

And those were some elevators, McBride went on. A mile a minute going up, a hundred miles an hour going down. "And they've got escalators too, going all the way. They say they go down forty-two miles!"

"Gaffney?" asked Yossarian, and Gaffney nodded slowly "Gaffney, Milo 's unhappy," Yossarian let him know, in a jocular vein. "I suppose you know."

" Milo 's always unhappy."

"He fears."

"And what does he fear today? He's got the contract."

"He fears he did not ask enough and is not getting as much for the Shhhhh! as Strangelove is getting for his plane. And they won't even work."

Halting on the staircase so abruptly that the two men collided, Gaffney, to Yossarian's total astonishment, regarded Yossarian with a lapse in his aplomb.

"They won't? What makes you say that?"

"They will?"

Gaffney relaxed. "They do, Yo-Yo. For a second I thought you knew something I didn't. They're working already."

"They can't be. They won't. They gave me their word."

"They break their word."

"They made me a promise."

"They break their promises."

"I have a guarantee."

"It's no good."

"I have it in writing."

"Stick it in your Freedom of Information file."

"I don't understand. They've beaten Strangelove?"

Gaffney gave his silent laugh. "Yossarian, my friend, they are Strangelove. They've blended, of course. Except for the difference in names and companies, aren't they the same? They've had planes going for years."

"Why didn't you ever say so?"

"To whom? Nobody asked."

"You could have told me."

"You didn't ask. Often it's to my advantage to keep things to myself. Sometimes knowledge is power. Some say the ultimate weapon will be good for my business, some say it won't. That's why I'm down here today. To find out."

"What business?"

"Real estate, of course."

"Real estate!" scoffed Yossarian.

"You refuse to believe me," said Gaffney, smiling, "and yet you think you want the truth."

"The truth will make us free, won't it?"

"It doesn't," answered Gaffney. "And it won't. It never has." He pointed down to McBride. "Let's go, Yo-Yo. He has another truth to show you. Recognize that music?"

Ybssarian was almost sure he was hearing the Leverkühn passages again on the speaker system, from the work that had never been written, in a mellow version for orchestra, played rubato, legato, vibrato, tremolo, glissando, and ritardando, sweetly disguised for popular absorption, with no quavering, jolting hint of fearful climax.

"Gaffney, you're wrong about that Leverkühn, you know. It's from the Apocalypse."

"I know that now. I looked it up and saw I was mistaken. I can't tell you how it embarrasses me to say so. But I bet I do know what you're going to ask me next."

"Notice anything?" asked Yossarian anyway.

"Of course," said Gaffney. "We cast no shadows down here, our feet make no noise. Do you notice anything?" Gaffney asked, as they joined McBride. He was not referring to the guard in the archway on a chair at the elevator. "Do you?"

It was Kilroy.

He was gone.

The words on his plaque had been effaced.

Kilroy was dead, McBride revealed. "I felt I should tell you."

"I had a feeling he was," said Yossarian. "There are people my age who'll be sorry to hear that. Vietnam?"

"Oh, no, no," McBride answered with surprise. "It was cancer. Of the prostate, the bone, the lungs, and the brain. They have it down as a natural death."

"A natural death," repeated Yossarian in lament.

"It could be worse," said Gaffney, sympathizing. "At least Yossarian is alive."

"Sure," said McBride, like a hearty fellow. "Yossarian still lives."

"Yossarian lives?" repeated Yossarian.

"Sure, Yossarian lives," said McBride. "Maybe we can put that one up on the wall instead."

"Sure, and for how long?" Yossarian answered, and the alarm went off.

McBride gave an immediate start. "Hey, what the hell is that?" He looked frightened. "Isn't that the alert?"

Gaffney was nodding. "I think so too."

"You guys wait here!" McBride was already running toward the guard. "I'll go find out."

"Gaffney?" asked Yossarian, quivering.

"I don't know down here," Gaffney answered grimly. "It may be the war, triage time."

"Shouldn't we get the hell out? Let's jump outside."

"Don't go crazy, Yossarian. We're much safer here."

BOOK THIRTEEN

34 Finale

When he heard the alarm go off and saw the colored lamps on the mechanism blinking, the President was pleased with himself for having set something in motion and sat back beaming with self-satisfaction until it dawned on him that he did not know how to stop what he had started. He pressed one button after another to no avail. As he was about to call for help, help came crashing in: Noodles Cook, the stout man from the State Department whose name never came readily to mind, his slim aide from the National Security Council, Skinny, and that general from the air force newly promoted to the Joint Chiefs of Staff.

"What happened?" screamed General Bingam, with a horror-stricken countenance inflamed with confusion.

"It works," said the President, with a grin. "You see? Just like the game here."

"Who's attacking us?"

"When did it begin?"

"Is someone attacking us?" asked the President.

"You launched all our missiles!"

"You sent out our planes!"

"I did? Where?"

"Everywhere! With that red button you kept pressing."

"This one? I didn't know that."

"Don't touch it again!"

"How was I supposed to know? Call them all back. Say I'm sorry. I didn't do it on purpose."

"We can't call back the missiles."

"We can call back the bombers."

"We can't call back the bombers! Suppose someone retaliates? we have to take them out first."

"I didn't know that."

"And we'll have to send out our second-strike bombers too, in case they want to hit back after our first."

"Come on, sir. We have to hurry."

"Where to?"

"Underground. To the shelters. Triage-don't you remember?"

"Sure. I was playing that one before I switched to this one."

"Damn it, sir! What the hell are you smiling about?"

"There's nothing fucking funny about this!"

"How was I supposed to know?"

"Let's move! We are the ones who have to survive."

"Can I get my wife? My children?"

"You stay here too!"

They charged out like a mob and piled into the cylindrical escape elevator awaiting them. Fat was tripped by C. Porter Lovejoy, arriving desperately to get into the elevator too, and fell down inside, with Lovejoy clinging to his back like a crazed monkey in a clawing fury.

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