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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"To let you know. You seem to know everything."

"I don't know this one."

"And you're someone I trust."

They could tell from voices higher up that the stairwell had crowded considerably. They heard clearly the bawdy laughter, the languorous salutes of greeting and recognition, the obscenities, they could smell the smoke of matches and dope and scorched newspapers, they heard a glass bottle break, they heard the splash one floor up of a man or a woman urinating, and they smelled that too. At the top of the lowest flight, they saw the one-legged woman, who was white, drinking wine with a man and two women who were black. Her expression was blank and she talked in a daze, crushing pink underwear in a hand that lay restfully in her lap. Her wooden crutches, which were old and chipped and splintered and spotted, were lying on the staircase at her hip.

"She gets a wheelchair," McBride had already explained, "and someone steals it. Then friends steal one from someone else. Then someone steals that one."

This time McBride took the exit door, and Yossarian found himself on the sidewalk passing buses on the sub-level driving ramps, where the exploding exhausts and grinding engines were noisier and the air was stinking with diesel fumes and the smell of hot rubber, and they walked past boarding stations with longdistance buses for El Paso and Saint Paul, with connections continuing far up into Canada and down all the way through Mexico into Central America.

McBride took an entrepreneur's gratification in the operational efficiency of the bus terminal: the figures of almost five hundred boarding gates, sixty-eight hundred buses, and nearly two hundred thousand passengers in and out every normal working day tripped from his tongue fluently. The work still went on, he was speedy to assert, the terminal functioned, and that was the point, wasn't it?

Yossarian wasn't sure.

Now they rode by escalator back to the main floor. Passing the Communications Control Center, they glanced uneasily at the flocks of male and female hookers already congregating in the central areas of prostitution, where more and more would continue crowding in crafty and pathetic legions like molecules of matter in human form drawn insensibly to a central mass from which they could not want to free themselves. They strode past a shrunken black woman who stood near a post between state-authorized Lottery and Lotto stands in unlaced sneakers and held out a soiled paper cup while chanting tunelessly, "Fifteen cents? Gimrne fifteen cents? Any food? Used food?" A gray-haired bloated woman in a green tam-o'-shanter and green sweater and skirt, with sores on her splotched legs, was singing an Irish song off-key blissfully in a cracked voice near a filthy, sleeping teenager on the floor and a wild-eyed, slender, chocolate-colored tall man who was spotlessly clean and seemed all bones, preaching Christian salvation in a Caribbean accent to a stout black woman who nodded and a skinny white Southerner with closed eyes who kept breaking in with calls of thrilled affirmation. As they drew near the police station, Yossarian remembered with malicious caprice his wish to find out something special from his capable guide.

"McBride?"

"Yossarian?"

"I was talking to some friends. They're thinking of holding a wedding here in the terminal."

McBride flushed generously. "Sure, hey, that's a good idea. Yeah, Yo-Yo. I could pitch in and help. We could make them a nice wedding, I think we could. I've still got that empty cell there for the kids. We could turn that into the chapel. And of course, right next door, ahem, I've still got the bed, for the honeymoon night. We could give them a big wedding breakfast in one of the food shops and maybe buy them some lottery tickets as a good-luck present. What's funny? Why couldn't they use it?"

It took Yossarian a minute to stop laughing. "No, Larry, no," he explained. "I'm talking about a big wedding, gigantic, high society, hundreds of guests, limousines at the bus ramps, newspapermen and cameras, a dance floor with a big band, maybe two dance floors and two bands."

"Are you crazy, Yo-Yo?" Now McBride was the one who was chuckling. "The commissioners would never allow it!"

"These people know the commissioners. They'd be there as guests. And the mayor and the cardinal, maybe even the new President. Secret Service men and a hundred police."

"If you had the President we'd be allowed to go all the way down there to look. The Secret Service would want that."

"Sure, you would like that too. It would be the wedding of the year. Your terminal would be famous."

"You'd have to clear out the people! Stop all the buses!"

"Nah." Yossarian shook his head. "The buses and crowds could be part of the entertainment. It would get in the newspapers. Maybe a picture inside with you and McMahon, if I pose you right."

"Hundreds of guests?" McBride restated shrilly. "A band and a dance floor? Limousines too?"

"Maybe fifteen hundred! They could use your bus ramps and park upstairs in your garages. And caterers and florists, waiters and bartenders. They could go riding on the escalators, in time to the music. I could talk to the orchestras."

"That could not be done!" McBride declared. "Everything would go wrong. It would be a catastrophe."

"Fine," said Yossarian. "Then I'll want to go ahead. Check it out for me, will you, please? Get out of my way!"

He snapped this last out at an oily Hispanic man just ahead who was flashing a stolen American Express credit card at him seductively with a smile of insinuating and insulting familiarity and caroling happily, "Just stolen, just stolen. Don't leave home without it. You can check it out, check it out."

Inside the police station, there were no reports of any new dead babies, the officer at the desk volunteered to McBride with a jocular impertinence.

"And no live ones either."

"I hate that guy," McBride muttered, coloring uncomfortably. "He thinks I'm crazy too."

McMahon was out on an emergency call, and Michael, who was finished with his unfinished drawing, inquired casually: "Where've you been?"

" Coney Island," Yossarian said jauntily. "And guess what. Kilroy was there."

"Kilroy?"

"Flight, Larry?"

"Who's Kilroy?" asked Michael.

"McBride?"

"Yossarian?"

"In Washington once, I went to look for a name on the Vietnam Memorial, with the names of all who'd been killed there. Kilroy was there, one Kilroy."

"The same one?"

"How the fuck should I know?"

"I'll check him out," promised McBride. "And let's talk more about that wedding. Maybe we could do it, I believe we could. I'll check that out too."

"What's this about a wedding?" Michael demanded with truculence, when they were out of the police station and walking away through the terminal.

"Not mine." Yossarian laughed. "I'm too old to marry again."

"You're too old to get married again."

"That's what I said. And are you still too young? Marriage may not be good, but it's not always all bad."

"Now you're talking too much."

Yossarian had his routine for moving through panhandlers, handing one-dollar bills from the folded daily allotment in his pocket to those who were timid and to those who looked threatening. A hulking man with inflamed eyes and a scrap of cloth offered to wipe his eyeglasses for a dollar or smash them to pieces if he declined. Yossarian gave him two dollars and put his eyeglasses away. Nothing surprising seemed unusual anymore in this deregulated era of free enterprise. He was under a death sentence, he knew, but he tried imparting that news to Michael euphemistically. "Michael, I want you to stay in law school," he decided seriously.

Michael stepped away. "Oh, shit, Dad. I don't want that. It's expensive too. Someday," he went on, with a dejected pause, "I'd like to work at something worthwhile."

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