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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He had more money than he ever could spend. He'd never trusted trusts or seen much foundation to foundations. John D. Rockefeller came to him regularly now to beg for dimes and to cadge free rides, and J. P. Morgan, who'd commended his soul to God with no doubt it would be embraced, sought favors. With little to live on, they had not much to live for. Their children sent nothing. Mr. Tilyou could have told them, he told them often. Without money life could be hell. Mr. Tilyou had an inkling there would always be business as usual everywhere, and he could have told them, he told them.

He was spruce, dapper, alert, and tidy. His bowler hat, his derby of which he was proud, hung spotless on a hook on his coatrack. He dressed daily now in a white shirt with a wing collar, with a dark ascot tied perfectly and tucked neatly into the vest of his suit, and the points of his thin brown mustache were inevitably waxed.

His first major success was a Ferris wheel half the size of the one that had caught his fancy in Chicago, and he boldly proclaimed his own, even in advance of completion, as the largest in the world. He decked it out with dazzling streamers of hundreds of Mr. Edison's new incandescent lightbulbs, and enchanted patrons were diverted and thrilled.

"I have never cheated a soul in anything," he was wont to declare, "and I've never given a sucker an even break."

He liked rides that went round and brought the participants back to the place they had started from. Almost everything in nature, from the smallest to the grandest, seemed to him to move in circles and to return to the point at which it had originated, to perhaps set out again. He found people more fun than a barrel of monkeys, and he liked to manipulate them in this guise with tricks of harmless public embarrassment that would give pleasure to everyone and for which all would pay: the hat whisked away by a jet of air or the skirts gusting upward over the shoulders, the moving floors and collapsing staircases, the lipstick-smeared couple floated back into light from the concealing darkness inside the Tunnel of Love, baffled to know why the onlookers were shaking in laughter at the spectacle they made until ribald jokesters cried out to tell them.

And he still owned his home. On Surf Avenue, across from his Steeplechase amusement park, Mr. Tilyou had lived in a good-sized wooden-frame house with a narrow walk and shallow steps built of masonry, and all seemed to begin sinking into the ground shortly after his burial. On the vertical face of the step at the bottom, the one joined to the sidewalk, he'd paid a stonecutter to chisel the family name, TILYOU. Year-round residents walking by on the way to the movie house or subway station were the first to note from the position of the letters in the name that the step seemed to be settling into the pavement. By the time the whole house was gone, there was not much attention paid to one more empty lot in a dilapidated neighborhood that had passed its prime.

On the north side of the narrow strip of land that made up Coney Island, which was not a true island but a protruding spit about five miles long and half a mile wide, lay a body of water called Gravesend Bay. A dye factory there consumed much sulfur. Boys nearing puberty touched lighted matches to the yellow clumps they found lying on the ground near the building and were intrigued and gratified that they ignited easily and burned with a bluish glare and an odor that was sulfurous. Nearby stood a factory that manufactured ice and once was the scene of a spectacular armed robbery by perpetrators who made good their getaway in a speedboat that raced out to escape into the waters of Gravesend Bay. Thus, there was fire and there was ice before home refrigeration grew practical.

Fire was an ever-present danger, and great Coney Island fires blazed periodically. Within hours after Mr. Tilyou saw his first amusement park destroyed by flames, he posted signs selling his newest attraction, his Coney Island fire, and he kept his ticket takers busy collecting the ten cents admission charge he took from customers eager to enter the devastated area to cast their eyes upon his smoking ruins. Why hadn't he thought of that, mused the Devil. Even Satan called him Mr. Tilyou.

BOOK FOUR

11 Lew

Sammy and I enlisted the same day. Four of us set out together. All of us went overseas. All four of us came back, although I was captured and Sammy was shot down into the water and crash-landed another time with a forgetful pilot called Hungry Joe, who forgot to try the emergency handle for lowering the landing gear. No one was hurt, Sammy tells me, and that pilot Hungry Joe got a medal. It's a name that sticks. Milo Minderbinder was his mess officer then and not the big war hero he tries to pass himself off as now. Sammy had a squadron commander named Major Major, who was never around when anyone wanted to see him, and a bombardier he thought I would have liked named Yossarian, who took off his uniform after a guy in their plane bled to death, and he even went to the funeral naked, sitting in a tree, Sammy says.

We went up by subway to volunteer at the big army induction center at Grand Central Station in Manhattan. That was a part of the city most of us hardly ever went to. There was the physical examination we'd heard about from the older guys who were already gone. We turned our heads and coughed, we milked down our joints, we bent over and spread the cheeks of our buttocks, and kept wondering what they were looking for. We'd heard of piles from our uncles and aunts, but we didn't really know what they were. A psychiatrist interviewed me alone and asked if I liked girls. I liked them so much I fucked them, I answered.

He looked envious.

Sammy liked them too but didn't know how.

We were past eighteen, and if we'd waited until nineteen, we would have been drafted, said FDR, and that was the reason we gave to our parents, who were not so happy to see us go. We read about the war in the newspapers, heard about it on the radio, saw it done gorgeously in the Hollywood movies, and it looked and sounded better to us than being home in my father's junkshop, like I was, or in a file cage like Sammy in the insurance company he worked for, or, like Winkler, in a cigar store that was a front for the bookmaking operation his father ran in back. And in the long run it was better, for me and for most of the rest of us.

When we got back to Coney Island after enlisting, we ate some hot dogs to celebrate and went on the roller-coasters awhile, the Tornado, the Cyclone, and the Thunderbolt. We rode up on the big Wonder Wheel eating caramel popcorn and looked out over the ocean in one direction and out over Gravesend Bay in the other. We sank submarines and shot down planes on the game machines in the penny arcades and dashed into Steeplechase for a while and rolled around in the barrels and spun around on the Whirlpool and the Human Pool Table and caught rings on the big carousel, the biggest carousel in the island. We rode in a flat-bottomed boat in the Tunnel of Love and made loud dirty noises to give laughs to the other people there.

We knew there was anti-Semitism in Germany, but we didn't know what that was. We knew they were doing things to people, but we didn't know what they were.

We didn't know much of Manhattan then. When we went up into the city at all, it was mainly to the Paramount or Roxy theater, to hear the big bands and see the big new movies before they came into the neighborhood six months later, to the Loew's Coney Island or the RKO Tilyou. The big movie houses in Coney Island then were safe and profitable and comfortable. Now they're bankrupt and out of business. Some of the older fellows would sometimes take us along into Manhattan in their cars on Saturday night to the jazz clubs on Fifty-second Street or up into Harlem for the music at the colored ballroom or theater there or to buy marijuana, eat ribs cheap, and get sucked and fucked for a buck if they wanted to, but I didn't go in much for any of that, not even the music. Once the war came, a lot of people started making money, and we did too. Soon after the war you could get that same sucking and the rest right there in the Coney Island neighborhood from Jewish white girls hooked on heroin and married to other local junkies who had no money either, but the price was two bucks now, and they did their biggest business mostly with housepainters and plasterers and other laborers from outside the neighborhood, who hadn't gone to school with those girls and didn't care. Some in my own crowd, like Sammy and Marvelous Marvin Winkler, the bookie's little boy, began smoking marijuana even before the war, and you could find that country smell of pot in the smoking sections of the Coney Island movie houses once you got to recognize what the stuff smelled like. I didn't go for any of that either, and the guys who were my friends never lit up their reefers when I was around, even though I told them they could, if they wanted to.

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