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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"I might help with the venue," said Yossarian. "I don't guarantee the disaster."

"Olivia will pitch in. She's sure she can attract our newest President. Christopher gives plenty since he received a suspended sentence and escaped community service."

"That's a good start."

"The mayor would come."

"That would help too."

"And the cardinal will insist."

"We're holding all the cards," said Yossarian. "I'll start casing the joint if you really want me to."

"Who do you know there?" Frances was eager to learn.

"McMahon and McBride, the cop and a supervisor. McBride was a detective at the police station there-"

"They have a police station there?" Patrick exclaimed.

"That should be novel," Frances remarked. "We've got our protection on hand."

"And convenient too," said Yossarian. "They can fingerprint the guests as we all arrive. McBride should know if it can be done. We've all gotten pretty close since my son Michael was arrested there."

"For what?" Patrick demanded.

"For coming out of the subway and stepping back in when he realized he had mistaken the stop he wanted. They shackled him to a wall."

"Good God!" Patrick reacted with a look of wrath. "That must have been horrifying."

"It almost killed both of us," Yossarian said, with a nervous, depressed laugh. "Come there with me, Patrick. I'll be going to look at something new. You'll see more of what modern life is really like. It's not all just the museum."

"I'd rather be sailing."

Patrick Beach, four years older than both, had been born rich and intelligent and was early made indolent by the perception of his own intrinsic uselessness. In Britain, he had remarked to Yossarian, or in Italy or one of the few remaining republican societies with a truly aristocratic tradition, he might have sought to distinguish himself academically as a scholar in some field. But here, where intellectual endeavors generally were rated menial, he was sentenced from birth to be a dilettante or a career diplomat, which he felt was almost always the same thing. After three quick superficial marriages to three superficial women, he had finally settled permanently on Frances Rosenbaum, whose stage name was Frances Rolphe, and who understood easily his recurring attraction for solitude and study. "I inherited my money," he was fond of repeating with overdone amiability to new acquaintances to whom he felt obliged to be civil. "I did not have to work hard to be here with you."

He was not disturbed that many did not like him. But that patrician face of his could freeze and his fine lips quiver in powerless frustration with people too obtuse to discern the insult in his condescension, or too brutal to care.

"Olivia Maxon," said Frances in summation, "will agree to anything I want her to, provided I let her think the initiative was hers."

"And Christopher Maxon is always agreeable," Patrick guaranteed, "as long as you give him something to agree with. I have lunch with him frequently when I feel like eating alone."

When he felt like eating with someone, he thought often of Yossarian, who was content to chat disparagingly with him about almost everything current and to reminisce about their respective experiences in World War II, Yossarian as a decorated bombardier on an island near Italy, Patrick with the Office of War Information in Washington. Patrick was still always respectfully enchanted to be talking to a man he liked who knew how to read a newspaper as skeptically as he did and had been wounded in combat once and stabbed in the side by a native prostitute, and who had defied his immediate superiors and compelled them at the last to send him home.

Frances went on with good cheer. "Olivia will be delighted to know you're assisting. She's curious about you, John," she volunteered archly. "Here you've been separated now a whole year, and you're still not attached to another woman. I wonder about that too. You say you're afraid of living alone."

"I'm more afraid of living with someone. I just know the next one too will like movies and television news! And I'm not sure I can ever fall in love again," he observed, pining. "I'm afraid those miracles may be past."

"And how do you think a woman my age feels?"

"But what would you say," Yossarian teased, "if I said I was in love now with a nurse named Melissa MacIntosh?"

Frances welcomed this game. "I would remind you that at our age, love seldom makes it through the second weekend."

"And I'm also attracted to a shapely Australian blonde who shares her apartment, a friend named Angela Moorecock."

"I might fall in love with that one myself," ventured Patrick. "That's really her name? Moorecock?"

" Moore."

"I thought you said Moorecock."

"I said Moore, Peter."

"He did say Moorecock," said Frances, reproachfully. "And I would also accuse you of ruthlessly exploiting innocent young working girls for degenerate sexual purposes."

"She isn't innocent and she isn't so young."

"Then you might as well take up with one of our widows or divorcees. They can be manipulated but never exploited. They have lawyers and financial advisers who won't allow them to be misused by anyone but themselves."

Patrick made a face. "John, how did she talk before she went on the stage?"

"Like I do now. Some people would say you were lucky, Patrick, to be married to a woman who speaks always in epigrams."

"And gets us talking that way too."

"I find that divine."

"Oh, shit, darling," said Patrick.

"That's an obscenity, my sweet, that John would never use with both of us."

"He speaks dirty to me."

"To me too. But never to both of us."

He glanced with surprise at Yossarian. "Is that true?"

"You can bet your sweet ass," said Yossarian, laughing.

"You'll find out what you can? About our wedding at the bus terminal?"

"I'm on my way."

There were no cabs outside the hotel. Down the block was the Frank Campbell Funeral Home, a redoubtable mortuary catering to many of the city's perished notables. Two men out front, one in the sober attire of an employee, the other plebeian in appearance with a knapsack and a hiking pole, were rasping at each other in muted disagreement, but neither gave him a look as he lifted an arm and caught his taxi there.

8 Time

The structure housing the M amp; M offices, to which Yossarian would be going later that same day, was an edifice of secondary size in the Japanese real estate complex now known as Rockefeller Center. Formerly, it was the old Time-Life Building and the headquarters of the publishing company Time Incorporated, the company for which, in that same building long before, Sammy Singer had gone to work as an advertising-promotion writer shortly after giving up a teaching position in Pennsylvania rather than sign a state loyalty oath to keep a job paying just thirty-two hundred dollars a year, and where he met the woman who five years later would become his wife. Glenda was a year older than Sammy, which would have disqualified her with his mother, had his mother been still alive, and was not Jewish, which might have unsettled her even more.

And she was divorced. Glenda had three young children, one of whom, sadly, was fated to evolve into a borderline schizophrenic of weak will with an attraction to drugs and an incipient bent toward suicide, the other two surviving, it developed eventually, with potential traits marking them especially high risks for neo-plastic disorders. Sammy's only regret about the long marriage was its tragic and unexpected termination. Sammy had no strong opinions about loyalty oaths but a passionate dislike for the people advocating them. It was much the same with the Korean War and the Vietnam War: he had no profound convictions either way but developed a hostile revulsion for demagogues in both political parties who demanded threateningly that he believe as they did. He disliked Harry Truman after reveling in his victorious campaign in 1948 and did not care afterward for Eisenhower and Nixon. He cared no more for Kennedy than he had for Eisenhower and ceased voting in presidential elections. Soon he stopped voting altogether and felt smug on election days. Glenda had stopped voting years before he met her and found all campaigning candidates for public office vulgar, boring, and loathsome.

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