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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A week or so after that the Germans pulled out of Rome and the Americans came in, by coincidence on D day in France. Within hours, it seemed, the executive officer in our squadron-I still don't know what an executive officer is, but ours was a major named de Coverley-rented two apartments there for us to use on short leaves, the one for the officers an elegant establishment of four bedrooms for four men, appointed with marble, mirrors, curtains, and sparkling bathroom fixtures on a broad thoroughfare called Via Nomentana, which was out of the way and a fairly long walk. Ours lay on two entire floors at the top of a building with a creeping elevator just off the Via Veneto in the center of; the city, and because of the convenience of location, the officers on leave at the same time were there a lot, even to eat and occasionally to make time with the girls who were always around. We came in larger groups with supplies of food rations, and thanks to Milo and Major de Coverley, there were women to cook for us all day long. We had maids to clean who had a good time working there and being with us, and friends of theirs would come to visit and stay the evening, often the night, for the food and the fun. Any unplanned urge could be appeased simply. Once I walked into Snowden's room and came upon Yossarian in bed on top of a maid still holding her broom, whose green panties were on the mattress beside them.

I'd never had so good a time as those I had in that apartment; I doubt I've had many better ones since.

On the second day of my first leave there I returned from a short stroll alone and came back just as the pilot called Hungry Joe was getting down from a horse-drawn cab with two girls who looked lively and lighthearted. He had a camera.

"Hey, Singer, Singer, come along," he yelled out at me in the excited, high-pitched voice with which he always seemed to say everything. "We'll need two rooms up there. I'll pay, I'll treat you. They said they'd pose."

He let me start out with the pretty one-black hair, plump, round face with dimples, good-sized breasts-and it was very good, as Hemingway might say, thrilling, relaxing, fulfilling. We liked each other. When we switched and I was with the wiry one, it was even better. I saw it was true that women could enjoy doing it too. And after that it has always been pretty easy for me, especially after I'd moved into New York in my own small apartment and was cheerily at work in the promotion department at Time magazine. I could talk, I could flirt, I could spend, I could seduce women into deciding to seduce me, which is how I lured Glenda into luring me into moving in with her after many weekends away together and then marrying.

Back at the squadron after that, I felt secure and adventurous, a ladies' man, almost a swashbuckler. I had a decent role in a pretty good film. We called them movies then. Everything ran very well, it seemed to me, with no effort on my part. We had our fresh eggs every morning, the bombs had already been loaded each time we came to our plane. Everything necessary was seen to by others, and none of the logistical work that went into it was mine. I was living with Gentiles and getting along.

Among us when I arrived were a number of aerial gunners and officers who had already completed their combat tours. They had flown their fifty missions and many had been wheedled into going on one or two more when personnel for some reason or another was short for a day or so, and they were waiting for the orders to come that would ship them back to the States. Before the transfer of the bomb group from the mainland to the island, they had been on missions to Monte Cassino and Anzio while the Germans still had fighter planes in the region to attack them, and more recently, with most of the others there before me, to hot targets they talked about like Perugia and Arezzo. Ferrara, Bologna, and Avignon still lay ahead, in my future. When the number of missions constituting a tour of duty was raised from fifty to fifty-five, those who'd not yet shipped out to Naples for the trip home to the States were ordered back to combat duty to fly the additional missions now designated. And they went, I noted, these veteran combat fliers with more knowledge than I had, without dread or outrage, with some irritation at inconvenience, but with no panic or protest. I found that encouraging. They survived without harm and in time went home. Most were not much older than I was. They had come through untouched. I would too. I felt my life as a grown-up was about to begin. I stopped masturbating.

18 Dante

"In what language?"

"In translation, of course. I know you don't read Italian."

"Three or four times," Yossarian remembered about Dante's Divine Comedy, as they waited for the elevator after Michael had dropped off the finished artwork. "Once as a kid-I used to read more than you ever wanted to. One time in a course in Renaissance literature, with Noodles Cook. Maybe a couple of times since, just the Inferno part. I never did get as much satisfaction out of it as I should have. Why?"

"It reminds me of it," said Michael, alluding to the PABT building, to which they both now were scheduled separately to go, Michael with M2 to clock the actions on the video monitors, Yossarian with McBride, with cops in flak jackets, if needed, arme with tranquilizer guns for the dogs at the bottom of the first stair case. "Even that name. Port, authority, terminal. I know what terminal means. I never tried," he went on in a tone of truculent braggadocio. "But each time I think of that bus terminal, I imagine it's what Dante's Inferno might represent."

"That's a fresh concept," Yossarian observed wryly. They were the sole passengers.

"Except," amended Michael, as they descended, "the PABT building is out in the open. Like something normal."

"That makes it worse, doesn't it?" said Yossarian.

"Than hell?" Michael shook his head.

"Sartre says hell is other people. You should read him."

"I don't want to read him. That's silly, if he was serious. It sounds like something said just for people like you to quote him."

"You're smart."

"We get used to this one," said Michael.

"Doesn't that make it worse? Do you think in hell they don't get used to it?" Yossarian added with a laugh. "In Dante they answer questions, pause in their tortures to tell long stories about themselves. Nothing God did ever came out right, did it? Not hell. Not even evolution."

Michael was an educated man who had not found magic in The Magic Mountain. He had not read Schweik, although he harbored favorable notions about him. He'd found Kafka and Joseph K. amusing but clumsy and unexciting, Faulkner passe, and Ulysses a novelty that had seen its time, but Yossarian had elected to like him anyway.

Starting out as a young father, with children amounting in time to four, Yossarian had never considered, not once, that in his declining years he might still be related to them.

"And I'm beginning to feel the same way about this office building of yours," said Michael, when they were out of the elevator and leaving the lobby.

"Ours," corrected Yossarian.

Michael had a spring in his step and an M amp; M paycheck in his pocket, and his animated spirit was in striking disharmony with his sulky observations.

"And all the rest of the buildings here in Rockefeller Center. They used to be taller, like real skyscrapers. Now they seem to be going to hell too, shrinking."

Michael might indeed be on to something, Yossarian reflected, as they came out on a sunlit street clogged with vehicles and astir with pedestrians. In fact, the slender edifices of rigid line and uniform silver stone constituting the original, true Rockefeller Center were overshadowed throughout the city now by taller structures of more extravagant style and more daring design. Old buildings had made way for new ones. These no longer meant much. The rooftops did indeed look lower, and Yossarian wondered impractically if all could indeed be sinking slowly into the mysterious muddy depths of some unreal sea of obsolescence somewhere.

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