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 never married, and the women he'd kept company with were invariably ladies approximately his own age who dressed plainly in pleated skirts and prim blouses, wore very little makeup daintily, were shy, colorless, and quickly gone.

Make effort as he might, Yossarian could not put to rest the low surmise that M2 belonged to that class of solitary and vindictive men that largely comprised the less boisterous of the two main classes of resolute patrons of prostitutes to be seen in his high-rise apartment building, riding up the elevators for the sex cures in the opulent temple of love on top or downward into the bowels of the structure to the three or four massage parlors of secondary dignity in the sub-basements underlying the several general cinema houses on the first sub-level down from the public sidewalk.

Michael had remarked lightly already to Yossarian that M2 seemed to him to possess all the typical attributes of the serial sex killer: he was white.

"When we went to the terminal," he confided, "he was only interested in looking at the women. I don't think he could recognize the transvestites. Is his father that way?"

" Milo knows what a prostitute is and didn't like us going after them. He's always been chaste. I doubt he knows what a transvestite is or would see much difference if he found out."

"Why did you ask me," M2 asked Yossarian now, "if we still have our catering service?"

"I might have some business. There's this wedding-"

"I'm glad you mentioned that. I might have forgotten. My mother wants me to talk to you about our wedding."

"This is not your wedding," corrected Yossarian.

"My sister's wedding. My mother wants my sister married, and she wants it done at the Metropolitan Museum of Art. She expects you to arrange it. She knows you're in ACACAMMA."

Yossarian was genially amazed. "The ceremony too?"

"It's been done before?"

"The actual ceremony? Not that I know of."

"You know trustees?"

"I'm with ACACAMMA. But it might be impossible."

"My mother won't accept that. She says-I'm reading now, from her fax-that if you can't manage that, she doesn't know what else you're good for."

Yossarian shook his head benignly. He was anything but insulted. "It will take money, and time. You would have to begin, I would say, with a donation to the museum of ten million dollars."

"Two dollars?" asked M2, as though repeating.

"Ten million dollars."

"I thought I heard two."

"I did say ten," said Yossarian. "For the construction of another new wing."

"We can handle that."

"With no strings attached."

"There'll be strings attached?"

"I said no strings attached, although of course there will be strings. Your father specializes in string. You're practically out-of-towners, and they just don't take ten million from every Tom, Dick, and Harry who wants to give it."

"Couldn't you persuade them to take it?"

"I think I could do that. And then there's no guarantee."

"There's a good guarantee?"

"There is no guarantee," Yossarian corrected again. "You and your father seem to have the same selective hearing impairment, don't you?"

"Collective hearing impairment?"

"Yes. And it will have to be wasteful."

"Tasteful?"

"Yes. Wasteful. It will have to be lavish and crude enough to get into the newspapers and high-fashion magazines."

"I think it's what they want."

"There might just be an opening they don't know about yet," Yossarian finally judged. "The wedding I mentioned will be in the bus terminal."

M2 reacted with a start, just as Yossarian had expected. "What's good about that?" he wanted to know.

"Innovation, Milo," Yossarian answered. "The museum isn't good enough for some people anymore. The bus terminal is just right for the Maxons."

"The Maxons?"

"Olivia and Christopher."

"The big industrialist?"

"Who never set foot in a factory and never laid eyes on a product any company of his ever manufactured, except maybe his Cuban cigars. I'm helping Maxon out with the logistics," he embroidered nonchalantly. "All the media will cover it, naturally. Will you take the bus terminal if we can't get the museum?"

"I'll have to ask my mother. Offhand-"

"If it's good enough for the Maxons," tempted Yossarian, "with the mayor, the cardinal, maybe even the White House amp;"

"That might make a difference."

"Of course, you could not be the first."

"We could be first?"

"You could not be first, unless your sister marries the Maxon girl or you want to make it a double wedding. I can talk to the Maxons for you, if your mother wants me to."

"What would you do," M2 asked, with a gaze that seemed circumspect, "with the whores at the bus terminal?"

The white light in M2's gray eyes as he said the word whores invested him instantaneously with the face of a ravenous man blistering with acquisitive desire.

Yossarian gave the answer he thought most fit.

"Use them or lose them," he answered carelessly. "As much as you want. The police will oblige. The opportunities are boundless. I'm being realistic about the museum. Your father sells things, Milo, and that's not elegant."

"My mother hates him for that."

"And she lives in Cleveland. When is your sister getting married?" j "Whenever you want her to."

"That gives us latitude. Who is she marrying?"

"Whoever she has to."

"That might open it up."

"My mother will want you to make up the guest list. We don't know anyone here. Our dearest friends all live in Cleveland, and many can't come."

"Why not do it at the museum in Cleveland? And your dearest friends could come."

"We would rather have your strangers." M2 seated himself gently in front of his computer. "I'll fax my mother."

"Can't you phone her?"

"She won't take my calls."

"Find out," said Yossarian, with more mischief in mind, "if she'll take a Maxon. They might just have an extra one."

"Would they take a Minderbinder?"

"Would you marry a Maxon, if all they have is a girl?"

"Would they take me? I have this Adam's apple."

"There's a good chance they might, even with the Adam's apple, once you fork over that ten million for another new wing."

"What would they name it?"

"The Milo Minderbinder Wing, of course. Or maybe the Temple of Milo, if you'd rather have that."

"I believe they would choose that," guessed M2. "And that would be appropriate. My father was a caliph of Baghdad, you know, one time in the war."

"I know," said Yossarian. "And the imam of Damascus. I was with him, and everywhere we went he was hailed."

"What would they put in the wing at the museum?"

"Whatever you give them, or stuff from the storeroom. They need more space for a bigger kitchen. They would certainly put in a few of those wonderful statues of your father at those stone altars red with human blood. Let me know soon."

And as M2 beat a bit faster on his keyboard, Yossarian walked away to his own office, to cope on the telephone with some matters of his own.

16 Gaffney

"She wants more money," Julian told him right off in his no-nonsense manner.

"She isn't getting it." Yossarian was equally brusque.

"For how much?" challenged his son.

"Julian, I don't want to bet with you."

"I'll advise her to sue," said his daughter, the judge.

"She'll lose. She'd have money enough if she called off those Private detectives."

"She swears she isn't employing any," said his other son Adrian, the cosmetics chemist without the graduate degree, whose wife had concluded, through an adult education course in assertiveness training, that she wasn't really as happy as she'd all along thought herself.

"But her lawyer might be, Mr. Yossarian," said Mr. Gaffney, when Yossarian phoned and brought him up-to-date.

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