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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She wore a skirt on the plane, but he had lost his desire to fool with her there. He talked more about the wedding at the bus terminal. She wanted to go, although he had not yet asked her. What he had most in mind was a few evenings apart.

For Yossarian, the prurient anticipation of unexpected lascivious treats and discoveries with Melissa was already beginning to lessen with the likelihood of their occurrence. They had grown familiar with each other too quickly-that had happened before: it happened every time-and he'd decided already they ought to start seeing less of each other. When not getting ready for bed or planning what to eat, they often had not much to do. That had happened before also; it happened every time. And doing nothing was often more bracing when done alone. He would not for anything ever take her dancing again, and he would sooner die than go to the theater. After the hundred grand, it might be wiser to separate as friends. He'd said nothing to her yet about that altruistic impulse. He'd had quixotic notions before.

And then he was stricken.

Here again was a Rhine Journey contrast.

Siegfried went out hunting and was stabbed in the back.

Yossarian set out for the bus terminal and was saved in the hospital.

He'd had his aura and his TIA, and for the next ten days he and his nurse Melissa, whom he'd thought he might see less of, were together every morning and most of every afternoon, and much of all evenings too until she left for the sleep she needed to report for work the next morning and help keep him alive by making sure that none on the medical staff did anything wrong. Not till the next-to-last day did she find out she was with child. He did not doubt the child was his.

BOOK NINE

27 PABT

The dogs were a recording, of course. McBride skipped down to the steps that set them stirring and charging, then to the next, that closed them back into silence. The fierce charge came from three, said (the official audiologists. Or from one-Yossarian reasoned- with three heads.

"Michael not here?" McBride asked at the beginning.

"Joan not coming?"

Joan, a lawyer with the Port Authority, was McBride's new lady friend. It would be funny, Yossarian had already conjectured, if their wedding too took place in the bus terminal. He could picture the Lohengrin "Wedding March" in the police station and the nuplial procession past the wall chains to the makeshift altar in a prison cell in back modified to a chapel. McBride's obstetrical cell was now a resting place for McMahon. The play cell for children was a recreation room utilized by officers on their breaks and was a hangout for those in no hurry to go home. There were checkerboards and jigsaw puzzles too, girlie magazines, a television set, and a video player on which to rerun the XXX-rated movies confiscated from pornographers, while smoking dope extorted from drug dealers, whom they also despised. McMahon had to look the other way. McBride was disillusioned again.

"Where's your friend?" timidly asked McBride.

"She has to work, Larry. She's still a nurse."

"Aren't you jealous," McBride wished to know, "of men patients and doctors?"

"All the time," admitted Yossarian, remembering adventurers like himself, and his fingers on the lace of her slip. "What do you know about those agents?"

"They're downstairs. They think I'm CIA. I'm not sure I trust them. I guess that other noise is phony too."

"What other noise? The carousel?"

"What carousel? I mean the roller-coaster."

"What roller-coaster? Larry, that train is not a roller-coaster. Are we waiting for Tommy?"

"He says it's none of his business, because it's not on his chart. He's resting again."

Yossarian found McMahon where he expected to find him, in bed in the cell in back, the television on. Captain Thomas McMahon had more or less moved all his office work and his telephone into the cell with the bed and now spent much of each working day resting. He came in on days off too. His wife had died of emphysema that year, and living alone, he would relate while smoking cigarettes, with a glass ashtray on the arm of the rocker he had found, was not much fun. He had found the rocker in a thrift shop that raised money for cancer relief. His eyes had grown sizable in his narrow face, and the bones seemed gaunt and crude, for he had been losing weight. A year or so earlier, he had lost his breath chasing a youth who had murdered someone in another part of the terminal, and he had not yet got it all back. McMahon now disliked his work but would not retire, for keeping this occupation he loathed, now that he was a widower, was all the fun he had.

"There are more of them now than there are of us," McMahon would reiterate moodily about his criminals. "And that's something you educated wise guys never thought of with that Constitution of yours. What's out there now?" he asked wearily, folding away a tabloid newspaper. He enjoyed following grotesque new crimes. He was bored working on them.

"A drunk on the floor, three druggies in chairs. Two brown, one white."

"I guess I'll have to go look." McMahon uncoiled himself and rose, panting in the effort from what could have been lassitude. He seemed now to Yossarian another good candidate for late-life depression. "You know, we don't arrest every crook we can catch," he repeated, in a repetitious lament. "We don't have the men to process them, we don't have the cells to put them in, we don't have the courts to find them guilty, and we don't have the prisons to keep them in. And that's something a lot of you people complaining all the time about cops and courts don't want to understand, not even that man from Time magazine who had his pocket picked and raised such a racket." McMahon paused for a chuckle. "We had to lock him up, while those thieves who'd robbed him looked on at all of us with smiles."

McMahon smiled too and told about the retired advertising executive from Time, The Weekly Newsmagazine who'd been left without a penny because he had given his change to some panhandlers and had then had his wallet stolen. He had his Social Security number but could not prove it was his. He went out of control when the policemen made no move to arrest any in the slick band of pickpockets. The wallet was already miles away; there would be no evidence. "We're stuck with this lousy legal system of yours that says a person is innocent until we can prove him guilty," said McMahon. "Since when, is what we would like to know! That's what drove him crazy, I think. There were the crooks. Here were the cops. And here was the cold fact that he couldn't do a thing about it. And he had no identification. He couldn't even prove he was him. That's when he panicked and made such a fuss we had to chain him in a wall cuff before he showed some sense and shut up. He saw what we had waiting for him in the cells, where he wouldn't have a chance of competing. Neither would we, or you. Then he could not establish his identity. That's always fun to watch. That always terrifies them. Nobody we telephoned was home. He couldn't even prove his own name. Finally"-McMahon was chuckling now-"he had to give us the name of this friend up in Orange Valley somewhere who turned out to be a big war hero in World War II. A big shot now in the army reserves. A big man in the construction industry too, he told us, and a big contributor to the Patrolmen's Benevolent Association. He had a name like Berkowitz or Rabinowitz, and he talked strong on the telephone, the way you did the first time you called, Yossarian, except this guy was telling the truth and wasn't sort of full of shit, the way you were. Then this guy Singer had no money to get home. So Larry here gave him a twenty-dollar bill for a taxi, remember? And guess what. The guy paid him back. Right, Larry?"

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