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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"One of these young men was killed later on," said Mrs. Tappman. "I believe it was this one. Samuel Singer."

"No, Mrs. Tappman. It was Howard Snowden."

"Are you sure?"

"I was with him again on that one too."

"You all look so young. I thought you might still look the same when I was waiting for you at the airport."

"We were young, Mrs. Tappman."

"Too young to be killed."

"I thought so too."

"Albert spoke at his funeral."

"I was there."

"It was very hard for him, he said. He didn't know why. And he almost ran out of words. Do you think they will set him free soon and let him come back home?" Karen Tappman watched Yossarian shrug. "He hasn't done anything wrong. It must be hard for him now. For me too. The woman across the street is a widow and we play bridge together evenings. I suppose I might have to learn to live like a widow sooner or later. But I don't see why I should have to do it now."

"There really is some concern for his health."

"Mr. Yossarian," she answered disapprovingly, in an abrupt change of mood. "My husband is now past seventy. If he's going to be ill, can't he be ill here?"

"I have to agree."

"But I suppose they know what they're doing."

"I never, never could agree with that one. But they're also afraid he might explode."

She missed the point. "Albert doesn't have a temper. He never did."

Neither could think of any new effort to make, what with a local police force recording him as a missing person, a department of the federal government that professed no knowledge of him, another department that brought cash and regards every fifteen days, and a third department that insisted he had been called back into the army reserves.

"They're all rather fishy, aren't they?" he observed.

"Why is that?" she asked.

The newspapers, two senators, a congressman, and the White House were all not impressed. In the latest version of the chaplain's Freedom of Information file, Yossarian had witnessed changes: everything on him now had been blacked out but the words a, an, and the. There was no Social Security number and there remained in the file only a copy of a scrawled personal letter from a serviceman dating back to August 1944, in which all but the salutation "Dear Mary" had been blacked out and, at the bottom, the message from the censor, who'd been Chaplain Tappman: "I yearn for you tragically. A. T. Tappman, Chaplain, U.S. Army." Yossarian thought the handwriting was his own, but could not remember having written it. He said nothing to Karen Tappman, for he did not want to risk upsetting her about a woman in the chaplain's past with the name Mary.

In the psychological profile constructed by the FBI, the chaplain lit the model of that kind of preacher who runs off with another woman, and the empirical evidence was preponderant that the woman he had run off with was the organist in his church.

Mrs. Tappman was not convinced, for there had been no church organist and her husband had been without church or congregation since his retirement.

Yossarian waited almost until they had finished eating before he gave her the new piece of information he had gained from Gaffney in a telephone call from the plane over Lake Michigan. They dined early at her request and were able to save three dollars on the early bird specials. This was new to Yossarian. They enjoyed an additional discount as senior citizens and did not have to show ID cards. This was new too. He ordered dessert only because she did first.

"I don't want to alarm you, Mrs. Tappman," he said, when they were finishing, "but they are also speculating it might be"- the word did not come easily to him-"a miracle."

"A miracle? Why should it alarm me?"

"It would alarm some people."

"Then maybe it should. Who will decide?"

"We will never know."

"But they must know what they're doing."

"I would not go that far."

"They have a right to keep him, don't they?"

"No, they don't have the right."

"Then why can't we do anything?"

"We don't have the right."

"I don't understand."

"Mrs. Tappman, people with force have a right to do anything we can't stop them from doing. That's the catch Albert and I found out about in the army. It's what's happening now."

"Then there's not much hope, is there?"

"We can hope for the miracle that they do decide it's a miracle. Then they might have to let him go. There's also the chance they might call it"-he was hesitant again-"a natural evolutionary mutation."

"For making heavy water? My Albert?"

"The problem with the miracle theory is another psychological profile. It's almost always a woman now, in a warm climate. A woman, if you'll pardon me, with full breasts. Your husband just doesn't fit the mold."

"Is that so?" The words were a blunt retort delivered with cold dignity. "Mr. Yossarian," she continued, with a look of belligerent assurance on her sharp face, "I am now going to tell you something we have never disclosed to anybody, not even our children. My husband has already been witness to a miracle. A vision. Yes. It came to him in the army, this vision, to restore his faith at the very moment when he was about to declare as a public confession that: he had given it up, that he no longer could believe. So there."

After a moment during which he feared he had angered her, Yossarian took heart from this show of fighting spirit. "Why would he not want to tell anybody?"

"It was given just to him, and not for notoriety."

"May I pass that information on?"

"It was at that funeral in Pianosa," she related, "at the burial of that young Samuel Singer we spoke of before."

"It was not Singer, Mrs. Tappman. It was Snowden."

"I'm sure he said Singer."

"It makes no difference, but I gave him first aid. Please go on."

"Yes, he was conducting this Singer's funeral service and felt himself running out of words. That's just how he describes it. And then he looked up toward the heavens to confess and resign his office, to renounce right there any belief in God, or religion, or justice, or morality, or mercy, and then, as he was about to do it, with those other officers and enlisted men looking on, he was granted his sign. It was a vision, the image of a man. And he was sitting in a tree. Just outside the cemetery, with a grieving face, watching the funeral with very sad eyes, and he had those eyes fixed on my husband."

"Mrs. Tappman," said Yossarian, with a long sigh, and his heart was heavy, "That was me."

"In the tree?" She arched her brows in ridicule. He had seen such looks before on true believers, true believers in anything, but never a self-assurance more rooted. "It could not be," she informed him, with a certitude almost brutal. "Mr. Yossarian, the figure was unclothed."

With delicacy, he asked, "Your husband never told you how that might have come about?"

"How else could it come about, Mr. Yossarian? It was obviously an angel."

"With wings?"

"You're being sacrilegious now. He did not need wings, for a miracle. Why should an angel ever need wings? Mr. Yossarian, I want my husband back. I don't care about anyone else." She was beginning to cry.

"Mrs. Tappman, you have opened my eyes," said Yossarian, with pity and renewed fervor. He had learned from a lifetime of skepticism that a conviction, even a naive conviction, was in the last analysis more nourishing than the wasteland of none. "I will try my best. In Washington I have a last resort, a man at the White House who owes me some favors."

"Please ask him. I want to know you're still trying."

"I will beg him, implore him. At least one time a day he has access to the President."

"To the little prick?"

It was still early when she dropped him at his motel.

Coming back from the bar after three double Scotches, he saw a red Toyota from New York in the lot, and a woman inside eating, and when he stopped to stare, she turned on the headlights and sped away, and he knew with a half-inebriated sniffle of laughter that he had to have been imagining the Toyota and her.

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