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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"I'd really love to go," Melissa replied. "I've never been. I can go to the National Gallery when you're busy, and to that aeronautical museum of the Smithsonian Institution."

"What did she say?" asked Jerry Gaffney.

Yossarian replied respectfully. "I think you know what she said. You really are a man of mystery, aren't you? I haven't figured you out yet."

"I've answered your questions."

"I must think of new ones. When can we meet?"

"Don't you remember? In Chicago, when your connecting flight is delayed."

"It will be delayed?"

"For more than an hour. By unpredictable blizzards in Iowa and Kansas."

"You predict them already?"

"I hear things and see things, John. It's how I earn my living. May I try out my joke now?"

"I'll bet you do. And you have been listening, haven't you? Maybe watching too."

"Listening to what?"

"You think I'm simpleminded, Gaffney? Would you like to hear my joke? Jerry, go fuck yourself."

"That's not a bad one, Yo-Yo," said Gaffney, sociably, "although I've heard it before."

The opera Siegfried brought to mind, Yossarian was recalling in the pearl-gray limousine, that the heldentenor in that one, after a mere touch to his lips of the blood of the slain dragon, illustriously began to understand the language of birds. They told him to take the gold, kill the dwarf, and dash to the mountain through the circle of fire to find Brunnhilde lying there in charmed sleep, this message in bird notes to a youth who had never laid eyes on a woman before and needed more than one look at the buxom Brunnhilde to make the startling discovery that this was not a man!

Siegfried had his birds, but Yossarian had his Gaffney, who could report, when Yossarian phoned him from the car, that the chaplain was passing tritium in his flatulence.

Nurse Melissa MacIntosh had not heard of an intestinal condition like that one before but promised to ask a number of gastroenterologists she was friendly with.

Yossarian was not certain he wanted her to.

He was wounded and abashed by the question that leaped to mind, and too shamed to voice it: to ask if she'd dated these doctors and slept with them too, even with only four or five. It told him again, to his inconceivable delectation, that he indeed thought himself in love. Such pangs of jealousy for him were extremely few. Even far back in his torrid affair with Frances Beach, though almost monogamous himself, he had indifferently assumed that she, in the vernacular of the age, was at that time also "boffing" others who were potentially supportive of her aspirations as actress. Now he reveled like an epicure in the euphoria of impressions of love that were again rejuvenating him. He was not embarrassed or afraid, except that Michael or the other children might find out, while it was still in the outlandish character of a rapture.

In the car she held his hand, pressed his thigh, ran fingers through the curls at the back of his head.

Whereas Siegfried from the start was in the evil hands of a wicked dwarf greedy for dragon's gold and drooling to liquidate him as soon as he had collared it.

Melissa was preferable.

She and her roommate, Angela Moore, or Moorecock, as he now called her, disapproved righteously of married men in quest of secret girlfriends, except for the married men who had quested specifically for them, and Yossarian was glad his newest divorce was final. He thought best not to divulge to her that, even with ravishing women, the seduction over, there was only the infatuation and sex, and that often in men of his years, caprice and fetishism were more arousing than Spanish fly. He was already scheming to take the last shuttle plane back with her from Washington and in the semidarkness of the interior attempt, while she sat near the window, to succeed in removing her underpants in the fifty or so minutes they had. Unless, of course, she wore jeans.

Unlike Angela, she herself never verbally tendered evidence of the versatile range of amatory experiences her roommate and best friend had bawdily claimed for them both. Her vocabulary tended toward the pristine. But she seemed a stranger to nothing and evinced no need for guidance or definitions. In fact, she knew a trick or two he had not imagined. And she so stubbornly resisted conversing about her sexual history that he soon left off searching for it.

"Who is Boris Godunov?" she asked in the car.

"The opera I was listening to the other night when you came in from work and then had me turn it off because you wanted to hear the fucking television news."

"When you get back," she next wanted to know, "can we listen to the Ring together?"

Here again, he considered, they both enjoyed another large advantage over the Wagnerian prototypes.

For good Brünnhilde had savored little delight once Siegfried set out on his mission of heroic deeds and had experienced only betrayal, misery, and jealous fury after he returned to seize and deliver her to another man. It did not once cross her mind while conspiring in his death that he might have been slipped a potion that caused him to forget who she was.

Whereas Yossarian was making Melissa happy.

This was a thing he had not been able to do for long with any other woman. He was hearing bird notes too.

Melissa found him expert and benevolent when he concluded she could indeed give up her staff job and have more money and time as a private-duty nurse, if-and it was a big if-she was willing to forgo her paid vacations and an eventual pension. But for her future security she must make up her mind that she must soon marry a man, handsome or not, even a boor, a dolt, forget charm, who did have a pension plan and would have a retirement income to bequeath when he died. Melissa listened blissfully, as though he were caressing and celebrating her.

"Do you have a pension plan?"

"Forget about me. It must be someone else."

She thought his brain immense.

A simple discharged promise made shortly after they'd met in the hospital affecting outdated silver fillings in two upper teeth meant more than he would have guessed; they were exposed when she laughed; and he'd pledged to have them replaced by porcelain crowns if she kept her eyes out for oversights and he came out of the hospital alive. And this, when done, went farther with her than all the long-stemmed red roses and lingerie from Saks Fifth Avenue, Victoria's Secret, and Frederick's of Hollywood, and suffused her with an exhilarated gratitude he had never witnessed before. Not even Frances Beach, who had so much from Patrick, knew how to feel grateful.

John Yossarian lay awake some nights in a tremulous agitation that this woman with whom he was entertaining himself might already be somewhat in love with him. He was not that positive he wanted what he wished for.

Since the shock in the shower, the course of this true love had run so smoothly as to beguile him into a presumption of the notional, fictitious, and surreal. On the memorable evening following his talk with Michael, in the movie house down from the lobby level of his apartment building, she showed no surprise when he put a hand on her shoulder to fondle her neck awhile, then another on the inside of her knee to see what good he could do for himself there. He was the one surprised when her resistance this time was perfunctory. With the coming of spring she wore no panty hose. Her jacket lay folded in her lap for tasteful concealment. When he moved upward to arrive at the silken touch of the panties and the feel of the lacework of curls underneath, he had come as far as he had aspired to and was content to stop. But she then said: "We don't have to do that here." She spoke with the solemnity of a surgeon rendering a verdict that was inevitable. "We can go upstairs to your apartment."

He found he preferred to see the rest of the movie. "It's okay here. We can just keep watching."

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