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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She had not heard from him since, although punctually each week Mrs. Karen Tappman was visited and assured he was well and given cash approximating on the generous side the amount he would have brought in were he still at liberty. The agents glowed with elation upon being told, tearfully, she had not heard from him. It was the confirmation they wanted that he was not setting through to anyone outside.

"I'll keep trying to track him down for you, Mrs. Tappman," Yossarian promised each time they spoke. "Although I don't really know where to turn next."

The lawyers she'd consulted did not believe her. The police in Kenosha were skeptical too. Her children also were dubious, although they could give no currency to the police theory that the chaplain, like many a missing man in their missing-persons book, had run off with another woman.

All that John Yossarian had been able to find out since was that whatever significance the chaplain had for his official captors was only monetary, military, scientific, industrial, diplomatic, and international.

He found this out from Milo.

He went first to good friends in Washington with influence-a lawyer, a fund-raiser, a newspaper columnist, and an image maker -who all said they did not want to go near it and thereafter did not return his calls or want him for a friend anymore. A lobbyist and a public relations counselor both requested large fees and guaranteed they could not guarantee they would do anything to earn them. His senator was useless, his governor helpless. The American Civil Liberties Union backed off too from the Case of the Missing Chaplain: they agreed with the police in Kenosha that he probably had run off with another woman. At last, in frustration, he went to Milo Minderbinder, who chewed his upper and then his lower lip and said: "Heavy water? How much is heavy water selling for?"

"It fluctuates, Milo. A lot. I've looked it up. There's a gas that comes from it that costs even more. About thirty thousand dollars a gram right now, I'd guess. But that's not the point."

"How much is a gram?"

"About one thirtieth of an ounce. But that's not the point."

"Thirty thousand dollars for one thirtieth of an ounce? That sounds almost as good as drugs." Milo spoke with his disunited eyes fixed on a distance speculatively, each brown iris pointing off in a different direction, as though, in concert, they took in to the horizon the entirety of all that was visible to humankind. The halves of his mustache were palpitating in separate cadences, the individual rusty-gray hairs oscillating skittishly like sensors taking notes electronically. "Is there much of a demand for heavy water?" he inquired.

"Every country wants it. But that's not the point."

"What's it used for?"

"Nuclear energy, mainly. And making atomic warheads."

"That sounds better than drugs," Milo went on in fascination. "Would you say that heavy water is as good a growth industry as illegal drugs?"

"I would not call heavy water a growth industry," Yossarian answered wryly. "But this is not what I'm talking about. Milo, I want to find out where he is."

"Where who is?"

"Tappman. The one I'm talking to you about. He was the chaplain in the army with us."

"I was in the army with a lot of people."

"He gave you a character reference when you nearly got in trouble for bombing our own air base."

"I get a lot of character references. Heavy water? Yes? That's what it's called? What is heavy water?"

"It's heavy water."

"Yes, I see. And what is the gas?"

"Tritium. But that's not the point."

"Who makes heavy water?"

"Chaplain Tappman does, for one. Milo, I want to find him and get him back before anything happens to him."

"And I want to help," promised Milo, "before Harold Strange-love, General Electric, or one of my other competitors does. I can't thank you enough for coming to me with this, Yossarian. You're worth your weight in gold. Tell me, which is worth more, gold or tritium?"

"Tritium."

"Then you're worth your weight in tritium. I'm busy today, but I must find that chaplain and sneak a man inside with the scientists interrogating him to establish ownership."

"How will you manage that?"

"I'll simply say it's in the national interest."

"How will you prove it?"

"By saying it twice," answered Milo, and flew off to Washington for his second presentation of the new secret bomber he had in mind that made no noise and could not be seen.

6 Milo

"You can't hear it and you can't see it. It will go faster than sound and slower than sound."

"Is that why you say your plane is sub-supersonic?"

"Yes, Major Bowes."

"When would you want it to go slower than sound?"

"When it's landing, and perhaps when it's taking off."

"Absolutely, Mr. Wintergreen?"

"Positively, Captain Hook."

"Thank you, Mr. Minderbinder."

They were meeting one level belowground in the basement of MASSPOB, the new Military Affairs Special Secret Projects Office Building, in a circular chamber with Lucite walls of ocean blue illuminated with bowed lines of longitude over warped continents and vivid free-form sculptured panels of fighting fish at war with swooping birds of prey. On the wall behind the barbered heads of the curving row of questioners was a condor with colossal wings and rapacious golden talons. All present were male. No transcript was authorized. These were men of keen intellect and their collective memory was reference enough. Two were already stifling yawns. All took for granted that the room was bugged anyway. Proceedings of such a sort were too secret to remain confidential.

"Will it go faster than light?" inquired a colonel in the half circle of experts flanking the presiding figure in dead center, who sat on a chair higher than the rest.

"It will go almost as fast."

"We can rev it up to go even faster than light."

"There would be some increase in fuel consumption."

"Wait a minute, please wait just one minute, Mr. Minderbinder, let me ask something," slowly cut in a puzzled civilian with a professorial demeanor. "Why would your bomber be noiseless? We have supersonic planes now, and they surely make noise with their sonic booms, don't they?"

"It would be noiseless to the crew."

"Why should that be important to the enemy?"

"It could be important to the crew," emphasized Milo, "and no one is more concerned about those kids than we are. Some of them may be aloft for months."

"Maybe years, with the refueling planes we recommend."

"Will they be invisible too?'

"If you want them to be."

"And make no noise?"

"The crew won't hear them."

"Unless they slow down and allow the noise to catch up."

"I see, Mr. Wintergreen. It's all very clever."

"Thank you, Colonel Pickering."

"How large is your crew?"

"Just two. Two are cheaper to train than four."

"Absolutely, Mr. Minderbinder?"

"Positively, Colonel North."

The officer in the center was a general, and he cleared his throat now as a proclamation of intent. The room fell still. He treasured the suspense.

"Does light move?" he demanded finally.

A leaden silence ensued.

"Light moves, General Bingam," Milo Minderbinder sprang in finally, with relief that he could.

"Faster than anything," ex-PFC Wintergreen added helpfully. "Light is just about the fastest thing there is."

"And one of the brightest too."

Bingam turned dubiously to the men on his left. A few of them nodded. He frowned.

"Are you sure?" he asked, and swiveled his sober mien to the specialists on his right.

A few of these nodded fearfully too. Some glanced away.

"That's funny," Bingam said slowly. "I see that light standing on the corner table and it looks perfectly still."

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