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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"What's the use?" Winkler liked to groan, with his eyes red and half closed. "You bring me down."

A guy named Tilyou, who maybe was already dead, became a sort of guy to look up to once I found out about him. When everyone else was poor, he owned a movie house and he owned a big Steeplechase amusement park and a private house across the street from his Steeplechase Park, and I never even connected them all with the same name until Sammy pointed it out to me not long ago on one of his mercy visits up to my house, when all of them were already gone, and George C. Tilyou too. Sammy began coming up a lot to see us after his wife died of cancer of the ovary and he did not know what to do with himself weekends, and especially when I was out of the hospital again and had nothing much to do with myself either but hang around getting my strength back after another session of radiation or more chemotherapy. Between these hospitalizations I could feel like a million and be strong as an ox again. When things got bad here, I'd go into the city to a hospital in Manhattan and an oncologist named Dennis Teemer for treatments they had there. When I felt good, I was terrific. i By now it's out of the bag. And everyone knows I've been sick with something that sometimes puts other people away. We never speak of it by name, or even as something big enough to even have a name. Even with the doctors, Claire and I don't talk about it by name. I don't want to ask Sammy, but I'm not sure we fooled him for a minute in all of the years of my lying about it like I did-as I did, as he would want to correct me, like he does, when I let him. Sometimes I remember, but I talk to him like I want to anyway just to heckle him.

"Tiger, I know it," I will tell him with a laugh. "You still think I'm a greenhorn? I'm putting you on, like I like to do, and hopefully someday you'll get it."

Sammy is smart and picks up on small things, like the name Tilyou, and the scar on my mouth before I grew my big brush mustache to hide it or let what hair I had left grow long in back to cover the incisions there and the blue burn marks on the glands in the back of my neck. I missed a lot: maybe in my lifetime by not going to college, but I never wanted to go, and I don't think I missed anything that would have mattered to me. Except maybe college girls. But I always had girls. They'd never scared me, and I knew how to get them and talk to them and enjoy them, older ones too. I was always priapic, Sammy told me.

"You've got it, tiger," I answered him. "Now tell me what it means."

"You were all prick," he said, like he enjoyed insulting me, "and no conflicts."

"Conflicts?"

"You never had problems."

"I never had problems."

I never had doubt. My first was an older one on the next block named Blossom. My second was an older one we called Squeezy. Another one was a girl I picked up in the insurance office when Sammy was working there, and she was older too, and she knew I was younger, but she wanted more of me anyway and bought me two shirts for Christmas. Back then I think I made it with every girl I really wanted to. With girls, like everywhere else, even in the army, I found out that if you let people know what you want to do and seem sure of yourself about doing it, they're likely to let you. When I was still a corporal, my sergeant overseas was soon letting me do all the deciding for both of us. But I never had college girls, the kind you used to see in the movies. Before the war, nobody we knew went to college or thought about it. After the war, everybody began going. The girls I met through Sammy from his Time magazine before he was married, and after too, didn't always find me as popular as I thought they should, so I cut down on the personality with them instead of embarrassing him, and even his wife, Glenda, wasn't really as crazy about me and Claire at first as the people we were used to in Brooklyn and Orange Valley. Claire had the idea Glenda felt like a snob because she wasn't Jewish and was not from Brooklyn, but it turned out it wasn't that. When we began to get sick, first me, then her, we all got close, and even before that, when their boy, Michael, killed himself. We were the married couple they could turn to easiest and Claire was the girl she could confide in most.

In Coney Island, Brighton Beach, and everywhere else, I always had girls, as often as I wanted, and even could get them for others, even for Sammy. Especially in the army, in Georgia, Kansas, and Oklahoma, and married ones too, with husbands away. And that sort of always turned me off a little afterward, but it never stopped me from having the good time when I could. "Don't put it in," they would sometimes try to make me promise before I made us both happier by putting it in. In England before I was shipped into Europe there were lots. In England in the war every American could get laid, even Eisenhower, and sometimes in France in a village or farm, where we were busy moving forward with the fighting, until we had to move back and I was taken prisoner with a whole bunch of others in what I later found out was the Battle of the Bulge. Except in Germany, but even almost in Dresden as a POW working in that liquid vitamin factory making syrups for pregnant women in Germany who needed nourishment and didn't have what to eat. That was late in the war, and I hated the Germans more than ever before, but couldn't show it. Even there I came close to getting laid with my joshing around with the guards and the Polish and other slave-labor women working there, and maybe could really have talked my favorite guards-they were all old men or soldiers who'd been wounded badly on the Russian front-into looking the other way while I slipped off into a room or closet with one or another of them for a while. The women weren't eager but didn't seem to mind me-up until the night of that big firebombing when everything around us came to an end in one day, and all of the women were gone too. The other guys thought I was out of my mind for horsing around that way, but it gave us a little something more to do until the war ended and we could go back home. The Englishmen in the prison detail could make no sense of me. The guards were tired too, and they began to get a kick out of me also. They knew I was Jewish. I made sure of that everywhere.

"Herr Reichsmarschall," I called each one of the German privates as a standing joke whenever I had to speak to them to translate or ask for something. "Fucking Fritz" was what I called each one of them to myself, without joking. Or "Nazi kraut bastard."

"Herr Rabinowitz," they answered with mock respect.

"Mein Name ist Lew," I always kidded back with them heartily. "Please call me that."

"Rabinowitz, you're crazy," said my assistant Vonnegut, from Indiana. "You're going to get yourself killed."

"Don't you want to have fun?" I kept trying to cheer us all up. "How can you stand all this boredom? I bet I can get a dance going here if we can talk them into some music."

"Not me," said the old guy named Schweik. "I'm a good soldier."

Both these guys knew more German than I did, but Vonnegut was modest and shy, and Schweik, who kept complaining he had piles and aching feet, never wanted to get involved.

Then one week we saw the circus was coming to town. We had seen the posters on our march to the food factory from our billets in the reinforced basement that had been the underground room of the slaughterhouse when they still had animals to slaughter. By then the guards were more afraid than we were. At night we could hear the planes from England pass overhead on their way to military targets in the region. And we would sometimes hear with pleasure the bombs exploding in the hundreds not far away. From the east we knew the Russians were coming.

I had a big idea when I saw those carnival posters. "Let's talk to the headman and see if we can't get to go. The women too. We need a break. I'll do the talking." The chance excited me. "Let's go have a try."

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