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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"Know anything? I'll pay for the law school."

"You won't know what I mean, but I don't want to feel like a parasite."

"Yes, I would. It's why I gave up commodities, currency trading, stock trading, arbitrage, and investment banking. Michael, I'll give you seven more years of good health. That's the most I can promise you."

"What happens then?"

"Ask Arlene."

"Who's Arlene?

"That woman you're living with. Isn't that her name? The one with the crystals and the tarot cards."

"That's Marlene, and she moved out. What happens to me in seven years?"

"To me, you damned fool. I'll be seventy-five. Michael, I'm already sixty-eight. I'll guarantee you seven more years of my good health in which to learn how to live without me. If you don't, you'll drown. After that I can't promise you anything. You can't live without money. It's addictive once you've tried it. People steal to get it. The most I'll be able to leave each of you, after taxes, will be about half a million."

"Dollars?" Michael brightened brilliantly. "That sounds like a fortune!"

"At eight percent," Yossarian told him flatly, "you'd get forty thousand a year. At least a third will go to taxes, leaving you twenty-seven."

"Hey, that's nothing! I can't live on that!"

"I know that too. That's why I am talking too much to you. Where's your future? Can you see one? Move this way."

They stepped out of the path of a young man in sneakers running for his life from a half-dozen policemen running just as fast and closing in on him from different sides because he had just murdered with a knife someone in another part of the terminal. Pounding among them in heavy black shoes was Tom McMahon, who looked ill from the strain. Cut off in front, the nimble youth left them all in the lurch by swerving sharply and ducking down into the same emergency stairwell Yossarian had taken with McBride and probably, Yossarian mused fancifully, would never be heard of again-or better still, was already back on their level, walking behind them in his sneakers, looking blameless. They passed a man sitting asleep on the floor in a puddle of his own making, and another teenager, out cold, and then found their way blocked by a skinny woman somewhere near forty with stringy blonde hair and a lurid blister on her mouth.

"I'll do you for a nickel, mister," she offered.

"Please," said Yossarian, stepping around her.

"I'll do you both for a nickel each. I'll do you both at the same time for a nickel each. Pop, I'll do you both for the same nickel."

Michael, with a strained smile., skittered around her. She plucked at Yossarian's sleeve and held on.

"I'll lick your balls."

Yossarian stumbled free, mortified. His face burned. And Michael was aghast to see his father so shaken.

10 George G. Tilyou

At a rolltop desk many levels below, Mr. George C. Tilyou, the Coney Island entrepreneur, who'd been dead almost eighty years, counted his money and felt himself sitting on top of the world. His total never decreased. Before his eyes were the starting and finishing stations of the roller-coaster he'd had brought down after him from his Steeplechase amusement park. The tracks had never looked newer as they rose toward the crest of the highest gravity drop at the beginning and climbed out of sight into the cavernous tunnel he occupied. He filled with pride when he gazed at his redoubtable carousel, his El Dorado. Constructed originally in Leipzig for William II, the emperor of Germany, it still was possibly the most magnificent merry-go-round anywhere. Three platforms carrying horses, gondolas, and carved ducks and pigs revolved at individual speeds. Often he would send his El Dorado carousel spinning with no riders aboard, merely to study the reflections of the silver mirrors at the glittering hub and to revel in the stout voice of the calliope, which was, he liked to joke, music to his ears.

He had renamed his roller-coaster the Dragon's Gorge. Elsewhere he had his Cave of the Winds, and at the entrance churned his Barrel of Fun, which brought the unpracticed to their knees right off on the circling bottom and kept them tumbling against each other in tilted disarray until they crawled out the farther end and regained their feet or were assisted by attendants or other customers more experienced. One who knew how could pass through without fuss merely by walking on a mild diagonal contrary to the direction of rotation, but that wasn't fun. Or stride and stride uphill upon the descending floor without getting anywhere and remain forever in the same place, but that was not much fun either. Onlookers of both sexes took special delight in witnessing the unbalanced distress of attractive ladies clutching to hold down their skirts in the days before slacks attained respectability as a befitting mode of female attire.

"If Paris is France," he could remember stating as the playground's foremost spokesman and impresario, "then Coney Island, between June and September, is the world."

The money he sat counting every day would never deteriorate or grow old. His cash was indestructible and would always have value. At his back rose a cast-iron safe that was taller than he was. He had guards and attendants from the old days, costumed in red coats and green jockey caps from the old days. Many were friends from the beginning and had been with him an eternity.

With a genius uncanny and persistent, he had defied and disproved the experts, his lawyers and his bankers, and had succeeded in time in taking it all with him, in holding on to everything he valued particularly and was intent on retaining. His will made adequate provision for his widow and his children. Deeds of ownership, cash instruments, and currency in a large amount were sealed, as directed, in a moistureproof box resistant to decay and interred with him in his sepulcher in Brooklyn's Green-Wood Cemetery, and his tombstone bore the inscription: MANY HOPES LIE BURIED HERE.

While heirs and executors disputed with each other and with government tax officials, Steeplechase (the " Funny Place ") relentlessly disappeared part by part from the face of the earth, except for the phallic, steel-beam, bankrupt skeleton of the Parachute Jump, which came in long after he was gone and was an attraction he would have rejected. It was tame and orderly, and did not frighten or tickle the customers or spectators. Mr. Tilyou relished things that surprised, threw people into confusion, annihilated dignity, blew boy and girl clumsily into each other's arms, and, with luck, flashed a glimpse of calf and petticoat, sometimes even feminine underpants, to a delighted audience just like them who viewed the comedy of their utter, ludicrous helplessness with gaiety and laughter.

Mr. Tilyou always smiled when he recalled the inscription on his tombstone.

He could not now think of anything he lacked. He had a second roller-coaster now, called the Tornado. Overhead he heard continually the stops and starts of the subway trains that had brought crowds in the hundreds of thousands to the beach on summer Sundays, and the sputtering exhausts of automobiles and larger vehicles of transportation traveling to and fro. Hearing the rippling and lapping of a canal of flowing water on a level above, he had brought down his flat-bottomed boats and reinstituted his Tunnel of Love. He had the Whip and the Whirlpool, with which he could lash patrons about and fling them aside, and the Human Pool Table with its vertical slide inside a chamber and spinning disks at the bottom to spin them supine in one direction or another while they screeched with hapless pleasure and prayed all the while it would soon come to an end. He had electric shocks on the railings for the unwary and mirrors for the normal that deformed them into merry and ridiculous monstrosities. And he had his grinning, pink-cheeked trademark, that demonic flat face with a flat head and parted hair and a wide mouth filled with cubes of teeth like white tiles, which people shrank from disbelievingly on first encounter and next time accepted good-humoredly as natural. From some unknown level below he heard repeatedly the passage of smooth-running railroad cars whose turning wheels rolled by day and night, but he was not curious. He was interested only in what he was able to own, and he wished to own only what he was able to see and watch and could control with the simplest action of a switch or a lever. He loved the smell of electricity and the crisp crackle of electrical sparks.

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