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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Michael spoke with a grin. "You mean that friend of my father's from the army who began producing heavy water inside himself illegally and is now-"

"That's the one!" M2 cried, and gaped as though confronted by a specter. "How'd you find out?"

"You just told me," laughed Michael.

"I did it again, didn't I?" blubbered M2, and collapsed with a thump into the chair at his desk in a grieving paroxysm of repentant lamentation. Now his shiny white shirt, which was of synthetic fabric, was rumpled, wet, and in need of ironing, and sopping adumbrations of a fidgety, sweltering anxiety were already darkening the fabric below the armholes of a sleeveless white undershirt he never failed to wear as well. "I just can't keep a secret, can I? My father is still angry with me for telling you about the bomber. He says he could kill me. So is my mother. So are my sisters. But it's your fault too, you know. It's his job to restrain me from telling him secrets like that."

"Like what?" asked Michael.

"Like that one about the bomber."

"What bomber?"

"Our M amp; M E amp; A Sub-Supersonic Invisible and Noiseless Defensive Second-Strike Offensive Attack Bomber. I hope you don't know about it."

"I know about it now."

"How'd you find out?"

"I have my ways," said Michael, and turned to his father with a glower. "Are we in munitions now too?"

Yossarian answered testily. "Somebody is going to have to be in munitions whether we like it or not, they tell me, so it might as well be them, and somebody is going to work with them on this, whether I say yes or no, so it might as well be you and me, and that's the perfect truth."

"Even though it's a lie?"

"They told me it was a cruise ship."

"It does cruise," M2 explained to Michael.

"With two people?" Yossarian contradicted him. "And here's another way out, to put your conscience at rest," Yossarian added to Michael. "It won't work. Right, M2?"

"We guarantee it."

"And besides," said Yossarian, with resentment surfacing, "you're only being asked to draw a picture of the plane, not to fly the fucking thing or launch an attack. This plane is for the new century. These things take forever, and we both may be dead before they get one into the air, even if they do get the contract. They don't care now if it works or not. All they want is the money. Right, M2?"

"And we'll pay you, of course," offered M2, coming back to his feet and fidgeting. He was slender, spare, with formless shoulders and prominent collarbones.

"How much will you pay?" asked Michael awkwardly.

"As much as you want," answered M2.

"He means it," said Yossarian, when Michael looked clownishly at him for interpretation.

Michael tittered. "How about," he ventured extravagantly, watching his father for the reaction, "enough for another year in law school?"

"If that's what you want," M2 immediately agreed.

"And my living expenses too?"

"Sure."

"He means that also," said Yossarian reassuringly to his incredulous son. "Michael, you won't believe this-I don't really believe it either-but sometimes there is more money in this world than anybody ever thought the planet could hold without sinking away into somewhere else."

"Where does it all come from?"

"Nobody knows," said Yossarian.

"Where does it go when it isn't here?"

"That's another scientific mystery. It just disappears. Like those particles of tritium. Right now there's a lot."

"Are you trying to corrupt me?"

"I think I'm trying to save you."

"Okay, I'll believe you. What do you want me to do?"

"A few loose drawings," said M2. "Can you read engineering blueprints?"

"Let's have a try."

The five blueprints required for an artist's rendering of the external appearance of the plane had already been selected and laid out on a conference table in an adjoining outer inner conference room just outside the rear false front of the second fireproof stand-up vault of thick steel and concrete, with alarm buttons and radioactive dials of tritium.

It took a minute for Michael to assemble coherence in the mechanical drawings of white lines on royal blue, which looked at first like an occult shambles ornamented with scribbled cryptic notations in alphabets that were indecipherable.

"It's kind of ugly, I think." Michael felt stimulated to be at work on something different that was well within his capabilities, "It's starting to look like a flying wing."

"Are there wings that don't fly?" teased Yossarian.

"The wings of a wing collar," Michael answered, without lifting his analytical gaze. "The wings of a theater stage, the wings of a political party."

"You do read, don't you?"

"Sometimes."

"What does a flying wing look like?" M2 was a moist man, and his brow and chin were beaded with shiny droplets.

"Like a plane without a fuselage, Milo. I've got a feeling I've seen this before."

"I hope you haven't. Our plane is new."

"What's this?" Yossarian pointed. In the lower left corner of all five sheets the identifying legends had been masked before copying by a patch of black tape on which was printed a white letter S without loops. "I've seen that letter."

"And so has everyone else," Michael answered lightly. "It's the standard stencil. You've seen it on old bomb shelters. But what the hell are these?"

"I meant those too."

To the right of the letter S was a trail of minuscule characters that looked like flattened squiggles, and while Yossarian was donning his glasses, Michael peered through a magnifying glass there and found the small letter h repeated in script, with an exclamation point too.

"So that," he remarked, still in very good humor, "is what you're going to call your plane, eh? The M amp; M Shhhhh!"

"You know what we call it." M2 was offended. "It's the M amp; M E amp; A Sub-Supersonic Invisible and Noiseless Defensive Second Strike Offensive Attack Bomber."

"We'd save time calling it Shhhhh! Tell me again what you want."

M2 talked diffidently. What was wanted were nice-looking pictures of the plane in flight from above, below, and the side, and at least one of the plane on the ground. "They don't have to be accurate. But make them realistic, like the planes in a comic strip or science movie. Leave out details. My father doesn't want them to see any until we get the contract. He doesn't really trust our government anymore. They'd also like a picture of what the plane will really look like in case they ever have to build it."

"Why don't you ask your engineers?" mused Michael.

"We don't really trust our engineers."

"When Ivan the Terrible," reflected Yossarian, "finished building the Kremlin, he had all the architects executed, so that no one alive would ever duplicate it."

"What was so terrible about him?" M2 wondered. "I must tell my father that."

"Leave me alone now," said Michael, rubbing his chin and concentrating. He was slipping off his corduroy jacket, whistling a Mozart melody to himself. "If you close the door, remember I'm locked in and don't forget to get me out one day." To himself, he observed aloud, "It's looking cute."

At the turn into the next century, he was cynically sure, there would be months of senseless ceremonies, tied in with political campaigns too, and the M amp; M warplane could be an exalted highlight. And no doubt, the first baby born in the new century would be born in the east, but much farther east this time than Eden.

He looked down again at the plans of this weapon for the close of the century and saw a design that seemed to him aesthetically incomplete. Much was lacking in anticipated form, much was missing. And when he looked at the blueprints and into the future in which that plane would fly, he could spy no place staked out anywhere into which he, in the stale words of his father, could fit, in which he could flourish with any more security and satisfaction than he presently enjoyed. He had room for improvement but saw not much chance of any. He remembered Marlene and her astrological charts and tarot cards, and he felt himself missing her again, even though uncertain he had ever cared for her more than any of the others in his sequence of monogamous romances. It was beginning to scare him that he might have no future, that he was already in it; like his father, about whom he'd always harbored mixed feelings, he was already there. He must risk a call to Marlene.

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