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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The chaplain did not want to play basketball or shuffleboard or to kick the soccer ball and wanted no souvenirs. The two walked around the railroad car for forty minutes, with General Groves setting a fairly energetic pace.

Another time, after they had dismounted near a small underpass going off on a course perpendicular to their tracks, he heard dim, tiny gunpowder reports, like those of small firecrackers, sounding somewhere from a hollow distance inside. It was a shooting gallery. The chaplain did not choose to try his luck and perhaps win a stuffed teddy bear. He did not want to pitch pennies on the chance of winning a coconut. He heard also from inside that space the music of a carousel and then the alternating roaring rise and fall of the squealing steel wheels and wrenching cars of a roller-coaster in motion. No, the chaplain had never been to Coney Island or heard of George C. Tilyou's Steeplechase Amusement Park, and he had no wish to go there now. He had no desire either to meet Mr. Tilyou himself or to visit his resplendent carousel.

General Groves shrugged. "You seem sunk in apathy," he offered with some pity. "Nothing seems to interest you, not television comedy, news, or sports events."

"I know."

"Me neither," said the psychiatrist.

It was on the third trip back to his home in Kenosha that the first of the food packages from Milo Minderbinder was delivered to him. After that these parcels came every week on the same day. The gift card never changed: WHAT'S GOOD FOR MILO MINDERBINDER IS GOOD FOR THE COUNTRY.

The contents did not alter either. Neatly placed in a bed of excelsior were a new Zippo cigarette lighter, a packet of sterile swabs on sticks of pure Egyptian cotton, a fancy candy box containing one pound of M amp; M's premium chocolate-covered Egyptian cotton candy, a dozen eggs from Malta, a bottle of Scotch whisky from a distiller in Sicily, all made in Japan, and souvenir quantities of pork from York, ham from Siam, and tangerines from New Orleans, which also originated in the Orient. The chaplain gave consent when General Groves suggested he donate the package to people above who still had nowhere to live. The chaplain was surprised the first time.

"Are there homeless in Kenosha now?"

"We are not in Kenosha now," answered General Groves, and moved to the window to press the location button.

They were in New York again, looking out past the bootblacks and the sidewalk carts of the food vendors with their smoking charcoal fires lining the streets near the front entrance to the bus terminal, looking past the PABT building to the two barren architectural towers of the World Trade Center, still possibly the tallest commercial structures in the universe.

Another time, while certain he was in MASSPOB in Washington, the chaplain saw by default mode that he was inside PABT, parked somewhere below while they switched engines and laboratory cars. He was able to gaze out through his window even into the Operations Control Center of the terminal and tie into any of the video screens there, to watch the buses arrive and depart, the diurnal tides of people, the undercover policemen who dressed like drug dealers and drug dealers who dressed like undercover policemen, the prostitutes, addicts, and runaways, the sordid, torpid couplings and other squalid acts of community life in the emergency stairwells, and even to peek inside the different washrooms to see humans peeing and doing laundry and, if he wanted to, inside the toilet cubicles themselves to observe the narcotic injections, oral sex, and defecations. He did not want to. He had television sets that could bring in programs with excellent reception on three hundred and twenty-two channels, but he found it was not fun to watch anything without his wife watching with him. Television was not much fun when they were together either, but they could at least fix their faces on the common point of the set while they fished around for something new to talk about that might lighten the lethargy. This was old age. He was still merely just past seventy-two.

Another time in New York he looked through his window at the Metropolitan Museum of Art at an hour when a meeting of ACACAMMA was disbanding, and he was certain again that he saw Yossarian leaving in the company of an elderly woman in fashionable dress and a man taller than both, and he wanted to cry out again, for this time he observed a man with red hair and a green rucksack eyeing the three craftily and falling in behind them, and then two other men, with brighter orange hair, following also, and behind them came still another man, who unmistakably was following them all. He distrusted his eyes. He felt he must be seeing things again, like that time of the vision of the man in the tree.

"And what is that other noise I continue to hear?" the chaplain finally inquired of General Groves, when they were rolling again and moving out of the city.

"You mean of water? That stream or river?"

"I hear it often. Maybe all the time "

"I can't say." I "You don't know?"

"My orders are to tell you everything I do know. That one is out of my jurisdiction. It's more secret and lower down. We know from our sonar that it's a fairly narrow, slow-moving body of water and that small boats without power, maybe rowboats, come by on it regularly, moving always in one direction. There's music too. The pieces have been identified as the prelude and wedding march from the third act of the opera Lohengrin." And faintly underlying that music, from someplace deeper, was an unrelated children's chorus of anguish that the government musicologists had not yet been able to identify. Germany was consulted and was in anguish also over the existence in performance of a choral piece of advanced musical complexity, perhaps genius, of which they knew nothing. "The water is on my papers as the river Rhine. That's all I know."

"The Rhine River?" The chaplain was awed.

"No. The river Rhine. We are not in Germany now."

They were back in the nation's capital.

There was no good reason to doubt General Groves, who made a noticeable point of being present at all the sessions with Ace, Butch, and Slugger. The chaplain understood that even the general's friendship might be no more than a calculated tactic in a larger strategy involving a clandestine plot with the three intelligence men, of whom he was most in fear. There was no way of knowing anything, he knew, not even that there was no way of knowing anything.

"'I often feel that same way," the general was quick to agree, when he voiced his misgivings.

"Me too," admitted the psychiatrist.

Was the sympathizing psychiatrist also a trick?

"You've no right to do this to me," the chaplain protested to General Groves when they were again alone. "I think I know that much."

"You're mistaken, I'm afraid," answered the general. "I think you'll find that we have a right to do to you anything you can't stop us from doing. In this case, it's both legal and regular. You were a member of the army reserves. They've simply called you back into service."

"But I was discharged from the reserves," responded the chaplain with triumph. "I have the letter to prove it."

"I don't think you do anymore, Chaplain. And it doesn't show in our records."

"Oh, yes it does," said the chaplain, gloating. "You can find it in my Freedom of Information file. I saw it there with my own eyes."

"Chaplain, when you look again, you'll find it's been blacked out. You're not completely innocent, you know."

"Of what am I guilty?"

"Of offenses the intelligence agents don't know about yet. Why won't you say that you're guilty?"

"How can I say if they won't tell me what they are?"

"How can they tell you if they don't know? To begin with."

General Groves went on, in a more instructive tone, "there's this thing with the heavy water you're producing naturally and won't say how."

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