Joseph Heller - Closing Time

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Closing Time: краткое содержание, описание и аннотация

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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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When I was thirteen and ready for high school, I got into Brooklyn Technical High School, which was not so easy to do back then, and did well in things like math, mechanical drawing, and some of the science courses, as I did not doubt I would. And then I forgot just about everything but the arithmetic when I got out and went to work for my father in the junkshop with my brother and one of my brothers-in-law, who lived with my oldest sister in the basement flat of the four-family brick house with a porch the family already owned. I used the arithmetic most in pinochle, I guess, in the bidding and playing, where I could pretty much hold my own in the boardwalk and beach games with almost the best of the old-world Jews from Russia and Hungary and Poland and Romania, who talked and talked and talked even while they played, about cards and the Jewish newspapers, and about Hitler, whom I hated early, as early as they did, and Stalin, Trotsky, Mussolini, and Franklin Delano Roosevelt, whom they liked, so I liked him too. In Coney Island I'll bet there was never a single Jewish voter for any Republican except maybe my brother-in-law Phil, who was always against everything everyone else around him was for, and still is.

My father did not think much of my genius at cards. When I asked him what else I should do with my time when we weren't working, he didn't know. When he didn't know something, he didn't want to talk about it. In the army there was no real pinochle, so I made my money at blackjack, poker, and craps. I almost always won because I always knew I would. If I didn't feel I would win I hardly ever played. When I lost, it wasn't much. I could tell in a minute if there were players at work who were just as good as I was and on a streak, and I knew enough to wait. Now I use my math to calculate discounts, costs, tax breaks, and profit margins, and I can do my figuring without even feeling I'm thinking, like my bookkeeper or counter girls could with their computers, and just about as fast. I'm not always right, but I'm almost never wrong. With the idea for metered home heating oil for builders and developers, even after I found the meter that would do it, I never felt sure. With metered oil there'd be no need for a fuel tank for each house in a development, and the company that owned the meter would sell the oil there. But I had the feeling I'd have trouble getting the people at the big oil companies to take me seriously, and I did and they wouldn't. When we met I was not myself. I wore a suit with a vest and had a different personality, because I had the feeling they would not like mine. They didn't care much for the one I used either. I was out of my league and knew it the minute I tried to step into theirs. There were limits, and I had guessed from the start that the sky was not one of mine.

The war was a big help, even to me, with the building boom and the shortages of materials to build with. We made money on the demolitions and on the first Luria Park fire right after the war when my hernias were fixed and I was back in the junkshop and strong as a bull again. I found I still loved the hard and heavy work with my brothers and brother-in-law and the old man. Smokey Rubin and the black guy were gone, but we had others when we needed them, and two trucks and another one we rented by the week. But I hated the dirt, hated the grease and the filth, and the stink from the rot from the ocean in the newspapers from the trash cans on the beach the scavenging ragpickers brought in to sell on the carts they pushed and pulled. I was afraid of the dirt and the air we breathed. I'm afraid of bugs. The old newspapers sometimes came with dead crabs and clumps of mussels with sand and seaweed and with orange peel and other kinds of garbage, and we put those in the middle of the big bales of papers we still wired up with our hands with pliers. There were machines now to bale newspapers, Winkler let us know like the voice of experience on one of those days when he had nothing better to do and came by to watch us working our asses off and hang around until I finished up. Winkler could find machines for anything, second hand ones too. State-of-the-art machines, he liked to call them, wasn't sure what that meant.

Winkler had found his state-of-the-art machines to slice up surplus army aerial film into sizes for consumer cameras and planned to make his first millions doing that before Eastman Kodak caught wise and tooled up again for the whole population and took back the market. People were getting married and having babies, and they wanted baby pictures.

"Never mind the machines, I don't want your machines," the old man grumbled at Winkler, grinding his dental plates and speaking in the thick Polish-Jewish accent Claire had hardly ever heard before she started going out with me and sleeping over in my other sister's room. No one would let us get together under that roof. She was upstate Jewish, where things were different than in Coney Island, and both her parents had been born in this country, which was different also. We met when they rented in Sea Gate one summer, for the beach and the ocean-we had one of the best beaches and ocean for swimming when it wasn't filthy with condoms and other things from the toilets on the big ocean liners steaming past into the harbor almost every day, and from sewers. We called the condoms " Coney Island whitefish." We called the garbage and the other floating stuff "Watch-out!" We had another name for the condoms. We called them scumbags. Now we call those pricks in Washington that. Like Noodles Cook, and maybe that new one now in the White House too.

"I got my own machines, two right here," the old man said, and flexed his muscles and smiled. He meant his shoulders and arms "And three more machines right mere." He meant me and my brother and my brother-in-law." And my machines are alive and don't cost so much. Pull, pull," he called out. "Don't stand there, don't listen to him. We got pipes to cut and boilers to get later."

And he and his three live machines went back to work with our baling claws and long pliers and thin steel baling rods to be pulled and twisted into knots, keeping our eyes and nuts out of the way in case a wire snapped. We tumbled one bale down on top of the other, where they both shook and quivered, in a way Claire thought was sexual, she told me, like a big guy like me tumbling himself down on top of a girl like her.

The old man took to Claire right off, from the time she started showing up at the junkshop to watch and help so I could finish up earlier when we had a date, and because she spent good time talking to my mother, who was not always easy to talk to anymore. And she gift-wrapped the small presents she brought for birthdays and holidays. Gift-wrapped? Claire was the first we knew of to gift-wrap. Before Claire showed up, who in the whole large family, in the whole world of Coney Island, knew about gift-wrapping? Or "stemware"? None in the family was sure what stemware was, but I knew I wanted it once Claire did, and I talked about our "stemware" to a higher-level Italian guy named Rocky I bought things from. Rocky liked me and liked Claire's way of talking straight with him, and after we both moved away and went separately into buying lots and building houses, we sometimes did things for each other. Rocky liked girls, blondes and redheads with lots of makeup and high heels and big bosoms, and was very respectful of wives, like Claire and his own.

Her father was dead, and my father put his foot down at the beginning about me ever sleeping over at her house, even with her mother home.

"Listen, Louie," my father, Morris, told me, "listen to me good. The girl is an orphan. She has no father. Marry her or leave her alone. I'm not making a joke."

I decided to marry her, and I found out, when I thought about it, that I wanted my wife to be a virgin. I was surprised, but that was the kind of a guy I turned out to be. I had to admit that every time I talked a girl into coming across, I thought at least a little bit less of her afterward, even though I usually wanted to do it with them again. And even six years later, when Sammy got married to Glenda with her three children, I still could not make myself understand how any man like him or me could get married to a girl who'd been fucked by someone else, especially by someone who was still alive, and more than once, and by more than one guy. I know it's funny, but that's the kind of a guy I turned out to be.

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