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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"It's the way we are, Michael, when we're angry or scared. I get crazy and talk too much."

"I couldn't even give them my right name so they'd believe me. And when the hell were you really ever a major?"

"Want a business card?" Yossarian snickered slyly and turned to McBride. "For about a minute and a half," he explained. "They gave me a temporary boost near the end because they didn't know what else to do with me. Then they shipped me home, brought me back to my permanent grade, and gave me my honorable discharge. I had the medals, I had the points, I even had my Purple Heart."

"You were wounded?" cried McBride.

"Yeah, and crazy too," replied Michael, proudly. "Another time he went walking around naked."

"You walked around naked?" cried McBride.

"And they gave him a medal," boasted Michael, completely at ease now. "A medal for bravery."

"You got a medal for bravery?" cried McBride.

"And couldn't pin it on."

"Because he was naked?"

"Still naked."

"Weren't you embarrassed? Didn't they do anything?"

"He was crazy."

"What'd you get the medal for, Major? How'd you get the Purple Heart? Why'd you walk around naked?"

"Stop calling me Major, Mr. McBride," said Yossarian, who had no wish to talk now about the waist gunner from the South who'd been killed over Avignon and the small tail gunner Sam Singer from Coney Island who kept fainting away each time he came to and saw the waist gunner dying and Yossarian throwing up all over himself as he worked with bandages and tried vainly to save the dying man. It was sometimes funny to him since in just those gruesome anecdotal aspects. The wounded waist gunner was cold and in pain, and Yossarian could find nothing to do that would warm him up. Every time Singer revived, he opened his eyes on something else Yossarian was busy with that made him faint away again: retching, wrapping up dead flesh, wielding scissors. The dying gunner was freezing to death on the floor in a patch of Mediterranean sunlight, Sam Singer kept fainting, and Yossarian had taken off all his clothes because the sight of the vomit and blood on his flight uniform made him want to vomit some more and to feel with nauseated certitude that he would never want to have to wear any kind of uniform ever again, not ever, and by the time they landed, the medics were not sure which one of the three to take into the ambulance first. "Let's talk about you."

Yossarian now knew that McBride's wife had left him-transformed almost overnight into a wrathful figure of pure fury by an inner rage he had never guessed existed-and that he had been living alone since his daughter had moved to California with a boyfriend to work as a physical therapist. To McBride, the unexpected breakup of his marriage was one more heartrending cruelty he could not puzzle out in a world he saw seething barbarously with multitudes of others. Former detective sergeant Larry McBride of the Port Authority police force was fifty and had the boyish, chubby face of an introspective seraph in hard times. As a cop he had never been able to outgrow the sympathy he suffered for every type of victim he encountered-even now his knowledge of the one-legged woman living in the terminal tormented him- and always after wrapping up a case, to his racking emotional detriment, he would begin suffering compassion for the criminals too, no matter how hardened, bestial, or obtuse, no matter how vicious the crime. He would. see them all pityingly, as they'd been as children. When the opportunity arose to retire on a full pension and take the executive position at good salary at the bus terminal -in which, in fact, as one kind of guardian or another, he had by now spent his entire working life-he seized it joyfully.

The end of a marriage he had thought satisfactory was a blow from which it seemed at first he did not think he would recover.

Now, while Michael prepared to wait, Yossarian wondered what new thing McBride wanted to show him.

"You tell me," McBride answered mysteriously.

The time before, he had unveiled his plans for a maternity cell, for converting one of the two auxiliary prison cages in the rear, for which there never had been need, into a room for mothers of unwanted babies who most generally disposed of the newborn infants in alleys and hallways or threw them away into wastebas-kets, garbage cans, and Dumpsters. He had already moved in at his own expense some pieces of furniture from his apartment for which he no longer had need. Yossarian nodded as he listened, sucking his cheeks inward a bit, and then he nodded some more. Nobody wanted those babies, he could have told him, and nobody cared for those mothers, who were rendering a service to the community by throwing them away.

For the other jail cell, McBride resumed, he had in mind a sort of pediatric day care center for the several little kids always living in the bus terminal, to afford their mothers a clean, safe place in which to place their offspring while they journeyed outside to panhandle and hustle for drugs and booze and food, and also for the runaway kids who kept showing up in this heart of the city until they made their good connections with a satisfactory drug dealer or pimp.

Yossarian broke in regretfully.

"McBride?"

"You think I'm nuts?" McBride rushed on defensively. "I know Tommy thinks I'm nuts. But we could have mobiles and stuffed toys and coloring books for the little ones. And for the older ones television sets and video games, maybe computers, sure, even word processors, couldn't they learn that?"

"McBride?" repeated Yossarian.

"Yossarian?" McBride had adopted unconsciously a number of Yossarian's speaking traits.

"Mobiles and word processors for kids who want drugs and sex?"

"Just while they're hanging around making their contacts. They'd be safer here than anywhere else, wouldn't they? What's wrong? Yossarian, what's wrong?"

Yossarian sighed wearily, feeling undone. "You're talking about a facility in a police station for aspiring child prostitutes? Larry, the public would scream bloody murder. So would I."

"What would you do that's better? They come here anyway, don't they?"

From the fact that McBride had been silent since on the subject of these humanitarian undertakings, Yossarian surmised they'd been stalled or forbidden.

Today he had some new surprise in store, and Yossarian went outside with him into the capacious structure of the bus terminal, where activities of all varieties had picked up bullishly. People were moving more quickly, and there were many more of them, traveling automatically like spirits who would have chosen a different course than the ones they were following had they found themselves free to decide. So many were eating as they walked, dripping crumbs and wrappers-candy bars, apples, hot dogs, pizzas, sandwiches, potato chips. The hustlers were at work at their assorted specialties, the best of them animated, with sharp eyes fishing around shrewdly for targets of opportunity, others blundering about crudely in search of just about anything, and still others, male and female, white and black, floating in blank-eyed, wistful stupors and looking less like predators than crippled prey.

"Pickpockets," McBride said, with a signal of his chin toward a group of three men and two girls, all of good appearance, and of Latin American countenance. "They're better trained than we are. They even know more law. Look."

A jolly group of transvestites moved up by escalator to the floor above, the faces glistening with a cosmetic sheen, all androgynous and vain in face and attire, the entire bunch as frisky and flirtatious as pubescent girl scouts high on hormones.

With McBride steering him, they passed the empty space below the pillars supporting the mezzanine floor of the observation bubble overhead with its staff of several employees doing drugs while monitoring the five dozen video screens in the Communications Control Center of the terminal. The hundreds of azure-eyed, dumb video cameras poked their flat snouts into every cranny on every level of the rambling, seven-story complex bestriding two city blocks, poking without blushing even into the men's toilets and the notorious emergency stairwells into which most of those living in the terminal crept at night for sleep and friendship and apathetic intercourse. Milo and Wintergreen were already thinking of the Communications Control Center converted into a lucrative enterprise by increasing the number of screens and selling units of time to eager spectators and players, who would replace the Port Authority employees and their salaries and their costly medical plans and vacation and retirement plans. People would flock to watch, to play cop and Peeping Tom. They could call it "The Real Thing." When crime slackened, they would present fakes and that way guarantee enough sex and violence to satisfy even the most bloodthirsty paying crowds.

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