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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"He mailed it. Tommy, I think you ought to come."

"I don't want to find out any more about anything. And I don't like those guys. I think they're CIA."

"They think you're CIA."

"I'm going back to your delivery room." McMahon was running out of energy again. "To rest awhile until one of your pregnant kids shows up and gives us one of your babies she wants to throw away. We haven't got any so far."

"You won't let me announce it. We hear about plenty."

"They'd lock us both up. Now, Larry, do this for me-find something down there to cancel that crazy wedding he's scheduled. I'm too old for that kind of stuff."

"They already have something they can't figure out," McBride reported to Yossarian. "An elevator that's down there and won't move, and we can't find out where it comes from."

From the front of the station house there came abruptly the explosive noise of a brawl.

"Oh, shit," groaned McMahon. "How I've grown to hate them all. Even my cops. Your pregnant mothers too."

Two burly young men who were cronies had broken each other's noses and split each other's mouths in an altercation over money robbed from a drug-addicted young black prostitute, a close friend of theirs, with white skin, yellow hair, and AIDS, syphilis, tuberculosis, and new strains of gonorrhea.

"There's another weird thing about these federal intelligence guys," McBride confided, when the two were out of the station. "They don't see anything funny about those signs. It's like they've seen them before." They cut across the main concourse below the Operations Control Center, and Yossarian remembered he was now on view on one of the five dozen video monitors there, traveling with McBride through the encasing structure. Perhaps Michael was up there again, watching with M2. If he picked his nose someone would see. On another screen, he supposed, might be the redheaded man in the seersucker suit, drinking an Orange Julius, and maybe the scruffy man in the sullied raincoat and blue beret, observed upstairs while observing him.

"They don't seem surprised by anything," grumbled McBride. "All they want to talk about when we plan the wedding is to get themselves invited, their wives too."

The stairwell was practically empty, the floor almost tidy. But the odors were strong, the air fetid with the rancid, mammalian vapors of unwashed bodies and their fecund wastes.

McBride went ahead and tiptoed carefully around the one-legged woman being raped again not far from the large, brown-skinned woman with thickened moles that looked like melanomas, who had taken off her bloomers and her skirt again and was swabbing her backside and armpits with a few damp towels, and Yossarian knew again he had not one thing to talk to her about, except, perhaps, to know if she had ridden to Kenosha on the same plane with him, which was out of the question and entirely possible.

On the last flight of steps sat the skinny blonde woman with a tattered red sweater, still dreamily engaged in sewing a rip in a dirty white blouse. At the bottom, there was already a fresh human shit on the floor in the corner. McBride said nothing about it. They turned underneath the staircase and proceeded to the battered metal closet with the false back and hidden door. In single file they came again into the tiny vestibule, facing the fire door of military green with the warning that read: EMERGENCY ENTRANCE KEEP OUT VIOLATORS WILL BE SHOT "They don't see anything funny in that," sulked McBride. Yossarian opened the massive door with just his fingertip and was once more on the tiny landing near the roof of the tunnel, at the top of the staircase that fell steeply. The thoroughfare below was empty again.

McBride did a little jig step on the activating steps that roused the sleeping dogs and sent them back with hardly a peep of protest into the unstirring limbo in which they made their noiseless abode and spent their dateless hours. Showing off, he grinned at Yossarian.

"Where are the loudspeakers?"

"We haven't found them, We aren't authorized to look far yet. We're only checking security for the President."

"What's that water?"

"What water?"

"Oh, shit, Larry, I'm the one who's supposed to be hard of hearing. I hear water, a fucking stream, a babbling brook."

McBride shrugged impartially. "I'll check. We're looking into both ends today. We can't even find out if it's supposed to be secret. That's secret too."

Approaching the bottom of the lopsided ellipse of this staircase, Yossarian caught glimpses below of shoulders and trouser cuffs and shabby shoes, one pair a dingy black, one pair an orange brown. Yossarian was beyond surprise when he reached the last flight and saw the two men waiting: a lanky, pleasant redheaded man with a seersucker jacket and a swarthy, seamy, chunky man in a scruffy raincoat, with ill-shaven cheeks and a blue beret. The latter wore a surly look and compressed a limp cigarette between wet lips. Both hands were deep in the pockets of his raincoat.

They were Bob and Raul. Bob was different from the agent in Chicago. But Raul was the spitting image of the man outside his building and in his dream in Kenosha. Raul badgered his moist cigarette about his mouth, as though in moody exception to some restriction against lighting it.

"Were you in Wisconsin last week?" Yossarian could not help asking, with a guise of affable innocence. "Around the motel near the airport in a place called Kenosha?"

The man shrugged neutrally, with a look at McBride.

"We were together every day last week," McBride answered for him, "going over the floor plans of that catering company you brought in."

"And I was in Chicago," offered the redheaded man named Bob. He folded a stick of chewing gum into his mouth and tossed the crumpled green wrapper aside to the floor.

"Did I meet you in Chicago?" Yossarian faced him doubtfully, positive he had never laid eyes on him. "At the airport there?"

Bob answered leniently. "Wouldn't you know that?"

Yossarian had heard that voice before. "Would you?"

"Of course," said the man. "It's a joke, isn't it? But I don't catch on."

"Yo-Yo, that guy in charge of the wedding wants six dance floors and six bandstands, with one as a backup in case the other five all don't work, and I don't see where they can find the room, and I don't even know what the hell that means."

"Me aussi," said Raul, as though he hardly cared.

"I'll talk to him," said Yossarian.

"And something like thirty-five hundred guests! That's three hundred and fifty round tables. And two tons of caviar. Yo-Yo, that's four thousand pounds!"

"My wife wants to come," said Bob. "I'll have a gun in my ankle holster, but I'd like to pretend I'm a guest."

"I'll take care of it," said Yossarian.

"Moi also," said Raul, and threw away his cigarette.

"I'll take care of that too," said Yossarian. "But tell me what's happening here. What is this place?"

"We're here to find out," said Bob. "We'll talk to the sentries."

"Yo-Yo, wait while we check."

"Yo-Yo." Raul sniggered. "My Dieux."

All three looked left into the tunnel. And then Yossarian saw sitting inside on a bentwood chair a soldier in a red combat uniform with an assault rifle across his lap, and behind him near the wall stood a second armed soldier, with a larger weapon. On the other side, in the amber haze telescoping backward into the narrowing horizon of a beaming vanishing point, he made out two other motionless soldiers, in exactly that grouping. They could have been reflections.

"What's over there?" Yossarian pointed across toward the passageway to SUB-BASEMENTS A-Z.

"Nothing we found yet," said McBride. "You take a look, but don't go far."

"There's something else très funny," said Raul, and finally smiled. He stamped his foot a few times and then began jumping and landing on both heels heavily. "Notice anything, my ami? No noise down here, nous can't make noise."

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