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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"It's a matter of vocabulary," he went on. "We have treatments." He was trying his hardest, maybe too hard, to be nice. "And the treatments usually work. They will work with you, but we don't know how well. Or how long. We can't really cure it. We can suppress it. That's not the same as a cure. We never feel'sure we've gotten rid of it for good, because the genesis of the disease, the origin, is always in yourself."

"For how long can you suppress it?"

"For very long when the treatments are effective. There are problems, but we'll handle them. In the periods of remission you should feel perfectly normal. When the symptoms come back, we will treat it some more."

"You're sure they'll come back?"

"They mostly seem to."

It was not the asbestos I'd worked with that brought it on. He could almost be positive about that, if anyone could be sure of anything when it came to one's genes, which were always selfish, he said, and oblivious too.

"They won't do what I want?" I almost laughed, nervously "They're mine and they don't care about me?"

"They don't know about you, Mr. Rabinowitz." He smiled just a bit. "It might be triggered by any number of things. Tobacco, radiation."

"From what?"

"Radium, electricity, uranium, maybe even tritium."

"What's tritium?"

"A radioactive gas that comes from heavy water. You may even have some on your wristwatch or bedroom clock."

"Radiation causes it and radiation cures it-excuse me, suppresses it?" I said, making my joke.

"And chemicals too," he said. "Or-I almost hate to say this, some people don't like hearing it-it might be your natural biological destiny, nothing more sinister than that."

"Natural? You'd call that natural?"

"In the world of nature, Mr. Rabinowitz, all diseases are natural." It made sense to me at the time, but I didn't like hearing it. "I've depressed you enough. Now let me help. You will be going into the hospital. You've got transportation? Has your wife made plans to stay?"

She stayed at a hotel that first time, the next, seven years later, when we both thought she was losing me, with Sammy and Glenda, because she needed someone to talk to. This last time there was no Glenda, so she stayed at a hotel again with my older daughter, but they ate with Sammy and he came every day. Teemer had been Glenda's doctor too.

I was better in three days and home in five. But the day I knew I'd survive I felt very bad too, because then I knew I was going to die.

I'd always known I was going to die. But then I knew I was going to die. The night that sank in, I woke up in the morning with my eyes wet, and one of the night nurses noticed but didn't say anything, and I never told anyone but Claire. We were going home after my breakfast.

"%ast night I shed a tear," I admitted.

"You think I didn't?"

That was just over twenty-eight years ago, and for most of the first seven I felt as good as I had ever felt before. I couldn't believe how fine I felt and I would come to believe it was gone forever. When I didn't feel fine I went into the city for Teemer once a week for half a day. When I did feel good, I played golf or cards with Emil maybe once a week and kept in touch with him that way. When the diaphragm slipped and Claire found herself pregnant again, we decided against the abortion without even saying so and had our little Michael, I felt so good. It's a way we showed confidence. We named him after my father. Mikey, we called him, and still do when we're kidding around. I felt so vibrant I could have had a hundred more. His Jewish name is Moishe, which was the Jewish name of my father. By then the old man had passed away too, and we could use his name without seeming to wish to put a curse on him while he was still alive. We Jews from the east don't name kids after parents who are still alive. But now I worry about Michael, little Mikey, because apart from money, I don't know what else I'm leaving him in the way of genes and his "natural biological destiny," and the other kids too, and maybe even my grandchildren. Those fucking genes. They're mine and won't listen to me? I can't believe that.

I don't really take to Teemer, but I'm not afraid of him or his diseases anymore, and when Sammy needed a specialist like him for Glenda, I recommended him over the one they already had, and he's the one they stuck with for the little time it took. It's those green apples I'm more afraid of now, all the time, those green apples in my mother's loony theory that green apples were what made people sick. Because more than anything else now, I'm afraid of nausea. I am sick of feeling nauseous.

"That's a good one, Lew," Sammy complimented me, when he was up here the last time.

Then I got the joke.

Sammy wears his hair combed back and parted on the side, and it's silver and thinning too, like I remember his father's. Sammy doesn't have much to do since his wife died, and then later he was forced out of his work at his Time magazine and into retirement, so he comes up here a lot. I don't want him in the hospital up here, but he comes in anyway sometimes, with Claire, and we bullshit until he sees I've had enough. We talk about the good old days in Coney Island, and now they do seem good, about Luna Park and Steeplechase and the big old RKO Tilyou movie theater, and how they've all gone away, disappeared, in d'rerd, as my father and mother used to say, in the earth, underground. He comes up by bus and, when he doesn't sleep over, goes back at night by bus to the bus terminal, that unreal city, he calls it, and then into the modern high-rise apartment he took in a building with everything, including some knockout models and call girls, when he found himself living alone in empty space he no longer wanted. Sammy still doesn't know what to do with himself, and we don't know what to do to help. He doesn't seem interested yet in settling in with someone else, although he talks about wanting to. My oldest daughter has introduced him to some of her unmarried lady friends and so has Glenda's oldest daughter, but nothing happened. They always find each other only "nice" and that's all. Claire's unattached women friends are too old. We decide that without even having to say it. He still likes to get laid now and then, and does, he tries to hint, when I kid about it. Sammy and I can chuckle now when he tells of the times he came in his pants- I never had to-and the first few times he finally got up the nerve to get girls to jerk him off: girls went for him, but he didn't know what to do with them. And the night his pocket was picked in the bus terminal and he found himself with no money and no wallet, not even carfare to get home, and was arrested and locked up in the police station there. I was the person he telephoned. I told off the cop after I vouched for Sammy and demanded the sergeant, I told off the sergeant and asked for the man in charge, and I told off the captain, McMahon, and said I would bring the wrath of the American Legion and National Guard and Pentagon down upon him, and the full force of me, former Sergeant Lewis Rabinowitz of the famed Army First Division, if he didn't show some sense and give him the cab fare to get him home. Sammy still can't get over how good I could be at things like that.

"He was lying down, that Captain McMahon," Sammy swore, "on a bed in a cell in the back of that police station that was furnished like a bedroom, and he looked sick. And the cell next to that: one was set up with desks and toys like a little classroom, a kindergarten, but cops with ashtrays were playing cards with each other. There were children's mobiles hanging over them in a prison cell, and one was a mobile of a black-and-white cow jumping over the moon, and they were luminescent, like they reflected light and would shine in the dark," Sammy explained, "like those old radium watches we all used to wear before we found out they were dangerous. There was another man there, named McBride, who was dusting and moving things around, and he's the one who lent me the money to get home. When I mailed him a check to pay him back, he even sent me a thank-you note. How's that one?"

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