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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"You go fuck your procedures!" Yossarian commanded. "Do you understand me?" He was mad enough and scared enough and felt helpless enough to kill. "You do what I say or I'll have your ass!" he bellowed roughly, with the belief that he meant it.

"Hey, hey, hey, one minute, buddy, hey, one minute, buddy!" The young cop was screaming now in a frenzy almost hysterical. "Who the fuck do you think you are?"

"I am Major John Yossarian of the M amp; M Pentagon Air Force Project," Yossarian replied in crisp, stern tones. "You insolent cocksucker. Where's your superior?"

"Captain McMahon here," said an older man, with emotionless surprise. "What's your trouble, sir?"

"This is Major John Yossarian of the M amp; M Pentagon Air Force Project, Captain. You've got my son there. I don't want him touched, I don't want him moved, I don't want him put near anyone who might harm him. And that includes your cops. Do we understand each other?"

"I understand you," McMahon came back coolly. "But I don't think you understand me. Who did you say this is?"

"John Yossarian, Major John Yossarian. And if you tie me up on this any longer it will be your ass too. I'll be there in six minutes."

To the taxi driver he gave a hundred-dollar bill and said respectfully, hearing his heart pound: "Please pass every traffic light you can pass safely. If you're stopped by a cop I'll give you another hundred and go the rest of the way on foot. I've got a child in trouble."

That the child was past thirty-seven did not matter. That he was defenseless did.

But Michael was still safe, handcuffed to the wall on a chain as though he would founder to the floor if he did not have that chain for support, and he was white as a ghost.

The station was in an uproar. People were moving and shouting everywhere. The cages were swarming with arms and sweaty faces and with gleaming eyes and mouths, the hallway too, the air stank of everything, and the officers and prison guards, sweating and swarming all over too, labored powerfully in picking, pulling, shoving, and heaving prisoners to be steered outside into vans and trucked downtown for delivery into other hands. Of all who were there, only Michael and Yossarian showed awareness of anything uncommon. Even the prisoners seemed ideally acclimated to the turbulent environment and vigorous procedures. Many were bored, others were amused and contemptuous, some ranted crazily. Several young women were hooting with laughter and shrieking obscenities brazenly in taunting debauchery, baiting and incensing the frustrated guards, who had to endure and cope with them without retaliating.

McMahon and the desk sergeant were awaiting him with stony faces.

"Captain-you him?" Yossarian began, talking directly into McMahon's light-blue, steely eyes with a hard-boiled stare of his own. "Get used to the idea! You're not going to put him into one of those cells. And I don't want him in a van with those others either. A squad car is all right, but I'll want to go with him. If you like, I'll hire a private car, and you can put some officers in with us."

McMahon listened with folded arms. "Is that right?" he said quietly. He was slim, straight, and more than six feet tall, with a bony face with tiny features, and the crests of his high cheekbones were spotted pink with a faint efflorescence, as though in savoring anticipation of the conflict at hand. "Tell me again, sir. Who did you say you were?"

"Major John Yossarian. I'm at work on the M amp; M Pentagon Air Force Project."

"And you think that makes your son an exception?"

"He is an exception."

"Is he?"

"Are you blind?" Yossarian exploded. "Take a good look, for Christ sakes. He's the only one here with a dry crotch and a dry nose. He's the only one here who's white."

"No, he's not, Captain," meekly corrected the sergeant. "We've got two other Caucasians we're holding in back who beat up a cop by mistake. They were looking for money."

Everyone around was contemplating Yossarian now as though he were something bizarre. And when he finally appreciated why, that he was poised before them with his arms raised in an asinine prizefighter's stance, as though ready to punch, he wanted to whimper in ironic woe. He had forgotten his age. Michael too had been regarding him with astonishment.

And at just that point of unnerving self-discovery, McBride wandered up and, in a gentle manner both firm and conciliatory, asked: "What's up, guys?"

Yossarian saw a sturdy man of middle height with a flushed face and a polyester suit of vapid light gray, with a broad chest that bellied outward and down so that from his neck to his waist he seemed a bulwark.

"Who the fuck are you?" sighed Yossarian in despair.

McBride replied softly, with the fearless confidence of a man competent at riot control. "Hello. I'm Deputy Supervisor Lawrence McBride of the Port Authority Bus Terminal. Hello, Tommy. Something going on?"

"He thinks he's big," said McMahon. "He says he's a major. And he thinks he can tell us what to do."

"Major Yossarian," Yossarian introduced himself. "He's got my son here, Mr. McBride, chained to that wall."

"He's been arrested," said McBride pleasantly. "What would you want them to do with him?"

"I want them to leave him where he is until we decide what we will do. That's all. He has no criminal record." To the police guard nearest Michael, Yossarian barked an order. "Unlock him now. Please do that right now."

McMahon pondered a moment and signaled permission.

Yossarian resumed amicably. "Tell us where you want him to be. We're not running away. I don't want trouble. Should I hire that car? Am I talking too much?"

Michael was aggrieved. "They never even read me my right to be silent."

"They probably didn't ask you to say anything," McBride explained. "Did they?"

"And the handcuffs hurt like hell! Not that one. The real handcuffs, God damn it. That's brutality."

"Tommy, what's he charged with?" asked McBride.

McMahon hung his head. "Beating the subway fare."

"Oh, shit, Tommy," said McBride, entreating.

"Where's Gonzales?" McMahon asked the sergeant.

"That's the guy who grabbed me," Michael called out.

The sergeant blushed. "Back at the subway exit, Captain, making his quota."

"I thought they had a fucking quota!" Michael shouted.

"Major, can't you keep your son quiet while we settle this?" asked McMahon, begging a favor.

"Tommy," said McBride, "couldn't you just give him a summons and release him on a DTA? We know he'll appear."

"What did you think we were going to do, Larry?" McMahon replied. He appealed to Yossarian as though they were allies. "You hear that, Major? I'm a captain, he was a sergeant, and now he's telling me how to handle my business. Sir, are you really a major?"

"Retired," admitted Yossarian. He found the business card he wanted of the several he carried. "My card, Captain. And one for you, Mr. McBride-McBride, is it?-in case I can return the favor. You've been a godsend."

"Here's mine, Major," said McBride, and gave a second one to Michael. "And one for you too, in case you're ever in trouble here again."

Michael was moping as they walked out with McBride. "It's a good thing I've still got you to look after me, isn't it?" he accused sullenly. Yossarian shrugged. "I feel like such a fucking weakling now."

McBride intervened. "Hey, you did the right thing, kiddo." He paused for a chuckle, laughed louder. "How could you convince us you'd break our backs and legs, when we had you in handcuffs?"

"Is that what I did?" said Yossarian with fright.

McBride laughed again. "Where's the credibility? That right, Major Yossarian?"

"Call me Yo-Yo, for God's sake," said Yossarian jovially. "I must have been forgetting my age."

"You sure were," charged Michael. "I was scared, damn it. And you guys are laughing. You were a champ, Pop," he continued sardonically. "Me, I don't even have a loud voice. Before when I was stopped by that cop, my hands shook so much he was afraid I was having a heart attack and almost let me go."

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