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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At Time magazine his starting salary was nine thousand dollars annually, just about three times more than he would have earned as a college instructor, and he had a four-week summer vacation. And at the end of his third year there he felt blessed to discover himself with a vested interest in a magnanimous company pension and profit-sharing plan. With a university education, paid for and made possible by the federal government under the GI Bill of Rights, and a position with an illustrious, nationally known firm, he was judged already at twenty-five a fabulous success by all his childhood friends from Coney Island. When he moved into Manhattan to a small apartment of his own, he ascended with charisma into the empyrean realm of the elite, and even Lew Rabinowitz eyed him with a kind of savoring envy. Sammy liked his surroundings, he liked his life. After he married, he loved his wife, he loved his stepchildren, and, though Lew refused to believe it, he did not go to bed with another woman for as long as he and Glenda were together.

In his work in the city Sammy found himself among Republicans for the first time in his life. Nothing in his background or higher education had conditioned him to expect that anyone but a bandit, sociopath, or ignoramus would ever want to be a Republican. But these coworkers weren't ignorant, and they were not bandits or sociopaths. He drank martinis at long lunches with other men and women in the company, smoked pot frequently at night for a few years with old friends and new ones, lamented the acquaintances back in Brooklyn now addicted to heroin. It seemed incredible to the Gentile men and women with whom he drank whiskey and smoked marijuana that Jewish youths in Brooklyn, New York, should be drug addicts. He brought friends from Manhattan to Brooklyn to meet them, to eat clams at Sheepshead Bay and hot dogs in Coney Island, to ride on the Parachute Jump and the Wonder Wheel and watch others brave the frightening roller-coasters. He took them to George C. Tilyou's Steeplechase Park. In daylight and darkness he went to bed with young women who used diaphragms and contraceptive vaginal foam, and he had still not gotten over that. Unlike the friends with whom he had grown up, he did not marry immediately upon returning alive from the war, but not until he was almost thirty. He was often lonely in this single life and hardly ever unhappy.

His boss was an articulate man of elegant mannerisms who had contempt for the editors, principally because he was not one of them and because he was better read than all, and he would contend eloquently at meetings that the business and promotion writers in his department were better writers than those on the editorial staff and knew much more. At that time every copywriter there, Sammy too, was writing, or talking about writing, books and articles and stories and scripts; the men and women in the art department did painting and sculpture on weekends and dreamed of exhibitions. The gadfly supervisor, of whom they all were proud, was eventually jostled into early retirement. Not long afterward he died of cancer. Right after he left the company, Sammy, a Coney Island Jew in a Protestant organization dominated by Class A suburbanites, found himself a manager of one of the smaller departments and the stepfather of three children of a Protestant woman from the Midwest of decisive emotional poise, who'd gone off one morning to have her tubes tied to avert bearing more children in a troubled marriage to a philandering husband she saw was certain to break up. She could adjust to the philandering, she'd said-and Sammy had not believed her-but detested his absence of tact. Shortly after the divorce he was stricken with melanoma. He was living still when Sammy moved in with Glenda and was alive when they married.

Sammy stayed on at Time contentedly, writing promotion copy to increase the advertising business of a magazine he appreciated only as a superior consumer product and thought little of otherwise. He liked the work, he liked the people he worked with, he enjoyed the increasingly good salary and the comfortable knowledge that he was economically secure. His involvement with the international editions of the magazines Time and Life gave him opportunities to travel and brought him into lasting friendships with people in other countries. Like others of his generation, he was brought up with the practical ideal that the best work to do was the best work to be found.

He stayed on until he too was nudged into early retirement, at the age of sixty-three, by a thriving company electing to thrive more abundantly by reducing staff and eliminating aging dead-wood like himself, and he departed serendipitously with a guaranteed good income for the rest of his life from the organization's liberal pension and profit-sharing plan, plus three thousand shares of company stock valued at more than a hundred dollars each, and with generous hospitalization and medical insurance benefits that took care of just about all the bills incurred by Glenda in her last illness and that would cover him for his lifetime and, had they still been young enough to qualify, the two surviving stepchildren until they reached nineteen or had completed college.

9 PABT

The luggage hustlers at curbside stared through him icily when he alighted without any. Inside the bus terminal things looked normal. Travelers streamed toward goals, those departing descending to buses below that carried them everywhere, or upward to the second, third, and fourth levels to buses that carried them away everywhere else.

"I'll do you for a nickel, mister," a thin boy of about fourteen spoke up to him bashfully.

A nickel was five dollars, and Yossarian did not have the heart to tell the lad that he did not think he was worth it. "I'll do you for a nickel, mister," said a flat-chested girl immediately beyond, a few years older but lacking the ballooning contours of budding female maturity, while a stout woman with painted lids and rouged cheeks and dimpled faces of fat around the chubby knees exposed by her tight skirt looked on from ahead, laughing to herself.

"I'll lick your balls," the woman proposed while Yossarian walked by, and rolled her eyes coquettishly. "We can do it in the emergency stairwell."

Now he tensed with outrage. I am sixty-eight, he said to himself. What was there about him that gave these people the notion he had come to the terminal to be done or have his balls licked? Where the fuck was McMahon?

Police Captain Thomas McMahon of the Port Authority police force was inside the police station with civilian deputy director Lawrence McBride, watching Michael Yossarian draw with a pencil on the back of a broad sheet of paper, looking on with that special reverence some people of inexperience bestow upon the ordinary skills of the artistic performer which they themselves lack. Yossarian could have told them that Michael probably would stop before finishing his sketch and leave it behind. Michael tended not to finish things and prudently did not start many.

He was busy executing a horrified picture of himself in the wall cuff to which he had still been chained when Yossarian had come charging into the police station the day he was arrested. With looping strokes he had transformed the rectangular modes of the prison cells into a vertical pit of sludge with spinning sides into which one peered slantwise, and in which the stiff human stick figure of himself he had just outlined stood engulfed and forlorn.

"You leave him right where he is!" Yossarian had thundered on the telephone half an hour before to the officer who had called to establish identification because the receptionist at the architectural firm for which Michael was doing elevations did not know he'd been taken on for a freelance assignment. "Don't you dare put him in a cell!"

"One minute, sir, one minute, sir!" broke in the offended cop, in a high-pitched outcry of objection. "I'm calling to establish identity. We have our procedures."

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