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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They could book in Japanese tour groups. Sooner or later they could spin the whole thing off to a Japanese motion picture company.

McBride moved past a newsstand run by Indians, with newspapers and colorful periodicals like Time, The Weekly Newsmagazine headlining the collapse of Russian socialism, the grandeur of American capitalism, and the latest business bankruptcy, unemployment figures, and sale of another national mercantile landmark to foreigners, and they came to the entrance of one of the emergency stairwells. Yossarian did not want to take that tour again.

"Just one floor," promised McBride.

"Something awful?"

"I wouldn't do that."

Loafing voices echoed mellifluously from above. The stairway was practically empty, the floor almost tidy. But the odors in this civilization were strong, the air reeking of smoke and unwashed bodies and their waste, a stench of rot and degradation that was violently disgusting and vilely intolerable to all but the mass producing it daily. By midnight there was scarcely a charmed body with enough living space to be free of another body more dissipated and fetid tumbled against it. People squabbled. There were shouts, quarrels, stabbings, burns, sex, drugs, drinking, and breaking glass; by morning there were casualties and an accumulation of filth of all sorts save industrial waste. There was no water or toilet. Garbage was not collected until morning, when the locals roused and took themselves to the sinks and the toilets in the rest rooms in sanitary preparation for the day's work ahead and, despite posted bans, to bathe and do laundry in the washbasins.

By this hour, the maintenance men had been through with their hoses and face masks to clean away the messes of excrement, trash, and garbage left the night before, the charred matchsticks and empty vials from dope, the soda cans, needles, wine bottles, and used condoms and old Band-Aids. The astringent smell of caustic disinfectant hung ineradicably in the air like the carbolic harbinger of a remorseless decay.

McBride took the staircase down past two raffish men of insolent and bored demeanor who were smoking marijuana and drinking wine and fell silent in tacit approbation after sizing him up and acknowledging with a kind of objective acceptance the latent authority and prowess he exuded. Near the bottom of the steps a solitary man slept with his back to the banister.

They passed to the concrete landing without disturbing him and tiptoed carefully around the one-legged woman being raped by a man with scrawny blanched buttocks and a livid scrotum not many yards from a large, brown-skinned woman who had taken off her bloomers and her skirt and was swabbing her backside and her armpits with a few damp towels she had laid out on newspapers with some folded dry ones near two brown shopping bags. She had splotchy freckles about her puffy eyes and bore scarred, tar-colored moles on her neck and back that made him think of melanoma. She stared at each in turn with a separate nod of matter-of-fact amity. Her pendulous breasts in a pink chemise were huge and her armpits were dark and bushy. Yossanan did not want to look down at her exposed vaginal area. He did not know who she was, but he knew he had not one thing he wanted to talk to her about.

On the last flight down to the sub-level outside, there sat only a skinny blonde woman with a bruised eye and a tattered red sweater, dreamily engaged in sewing a rip in a dirty white blouse. At the bottom, where the staircase came to an end facing an exit door to the street, someone had already shit in a corner. They looked away and walked looking down, as though in dire misgiving of a step into something sinful. Instead of heading outside, McBride turned beneath the staircase and proceeded into heavy shadows almost to the end of this lowest landing, until he came to a colorless door that Yossarian would have supposed invisible.

He switched on a light that was weak and yellow. The small room into which they stepped held only a metal closet with rusting doors on broken hinges that stood against a wall. McBride forced these doors apart and stepped inside the wasted relic. It had no back. He located a latch and pushed open an entranceway built into the wall itself.

"An addict found it," he mumbled rapidly. "I let him believe he was imagining it. Go on in."

Yossarian gasped with surprise in a cramped vestibule blocked by a wide fire door a few feet in front of his face. The slick surface was military green and painted at eye level with a warning in bold letters that could not be overlooked by anyone able to read.

EMERGENCY ENTRANCE

KEEP OUT

VIOLATORS WILL BE SHOT

The sturdy door seemed new, the letters fresh on the unmarred surface.

"Go on in. It's what I want to show you."

"I'm not allowed."

"Neither am I."

"Where's the key?"

"Where's the lock?" McBride grmned victoriously, his head cocked. "Go on."

The handle turned and the massive door slid open as though leveraged by counterweights and pivoting on noiseless bearings.

"They make it easy for people to get in, don't they?" said Yossarian softly.

McBride hung back, forcing Yossarian through first. Yossarian recoiled as he discovered himself on a tiny landing of wrought iron near the roof of a tunnel that seemed greatly higher than it was because of the dizzying angle downward of the staircase on which he was standing. Instinctively, he grasped the handrail. Here the flights of steps were small and reversed direction abruptly around an elliptical tiny platform of metal grillwork, where the next flight turned sharply back beneath him and dropped away out of sight at that same precipitous angle of descent. He could not see where the staircase came to an end in that abyss of a basement, whose dark floor seemed newly paved with some kind of rubberized compound. Looking down through the wrought-iron pattern of winding vine leaves that seemed to mock its own heavy composition, he was all at once reminded ridiculously of one of those vertical slides at an old-fashioned amusement park in which one embarked supine into darkness inside a cylindrical pillar with arms folded and went spiraling down with increasing momentum, to be expelled at last into a flat round arena of polished wood with disks rotating in contrary directions that bore him this way and that way for the pleasure of idle watchers until ultimately spilling him aside onto the stationary embankment that ringed the circular area of that particular attraction. The one he remembered best was named the Human Pool Table in the old George C. Tilyou Steeplechase Park in Coney Island. There, an iron handrail circling the viewing enclosure had been rigged electrically to administer stinging shocks of harmless voltage to unwary patrons whenever one of the red-suited attendants in green jockey caps thought the timing appropriate. That sudden onrush of tiny prickling needles bursting into the hands and arms was intolerable and memorable, and all who observed that half second of fright and panicked embarrassment of others laughed; the victims laughed too, afterward. There was laughter bursting from loudspeakers as well. Not many blocks away were freak shows featuring people with small heads.

Yossarian was standing now near the top of something nearly two stories high, a strange subterranean thoroughfare of impressive breadth and no discernible use, with a vaulted ceiling insulated with scored and pitted peach-colored acoustical tiles and outlined with slender borders of apple green. The high, flat walls of stone were of dark-reddish hue. These were tiled in white at the base like those of the underground stations of the subway system. The strange passageway was as wide as a city avenue, without curbs or sidewalks. It could have served as a train station too, except that he saw no rails or platforms. Then he spied near the bottom on the other side a long reflecting arrow in reel that reminded him one moment of a fiery penis and the next of a flaming missile that shot vividly to the left and then dipped downward perpendicularly toward words in black that proclaimed: Sub-Basements A-Z Above the arrow, where the white tiling ended, and perhaps thirty feet to the right, he recognized a large stenciled letter S of luminescent amber on a square of glossy black. Obviously, they were inside an old bomb shelter, he knew, until he spotted near the ground a door of metal of the same olive-drab shade as on the one behind him, with writing on it in white he could not believe, even after he had donned his trifocals to see into the distance more clearly.

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