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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"Bring your friend around and I'll tell him it's true. What's he in here for?"

"Some kind of checkup."

"By Teemer?" Yossarian was shaking his head.

"They know each other," said Singer, "a long time."

"Yeah," said Yossarian, with a sarcastic doubt that left Singer knowing he was unconvinced. "Well, Sammy, where do we go from here? I never could navigate, but I seem to have more direction. I know many women. I may want to marry again."

"I know some too, but mostly old friends."

"Don't get married unless you feel you have to. Unless you need to, you won't be good at it."

"I may travel more," said Singer. "Friends tell me to take a trip around the world. I know people from my days in Time. I've got a good friend in Australia who was hit with a disease called Guillain-Barre a long time ago. He's not young either and doesn't get around too easily on his crutches anymore. I'd like to see him again. There's another in England, who's retired, and one in Hong Kong."

"I think I'd go if I were you. It's something to do. What about the one that's here? Teemer's patient."

"He'll probably be going home soon. He was a prisoner in Dresden with Kurt Vonnegut and another one nimed Schweik. Can you imagine?"

"I stood on line in Naples once with a soldier named Schweik and met a guy named Joseph Kaye. I never even heard about Dresden until I read about it in Vonnegut's novel. Send your friend up. I'd like to hear about Vonnegut."

"He doesn't know him."

"Ask him to drop by anyway if he wants to. I'll be here through the weekend. Well, Sammy, want to gamble? Do you think we might see each other again outside the hospital?"

Singer was taken by surprise. "Yossarian, that's up to you. I've got the time."

"I'll take your number if you're willing to give it. It may be worth a try. I'd like to talk to you again about William Saroyan. You used to try to write stories like his."

"So did you. What happened?"

"I stopped, after a while."

"I gave up too. Ever try The New Yorker?"

"I struck out there every time."

"So did I."

"Sammy tells me you saved his life," said the big-boned man in a dressing gown and his own pajamas, introducing himself as Rabinowitz in a lusty, lighthearted manner, with a hoarse, unfaltering voice. "Tell me how you did it."

"Let him give you the details. You were in Dresden?"

"He'll give you those details." Rabinowitz let his eyes linger again on Angela. "Young lady, you look like someone I met once and can't remember where. She was a knockout too. Did we ever meet? I used to look younger."

"I'm not sure I know. This is my friend Anthony."

"Hello, Anthony. Listen to me good, Anthony. I'm not joshing. Treat her real fine tonight, because if you don't treat her good I will find out about it, and I will start sending her flowers and you will be out in the cold. Right, darling? Good night, my dear. You'll have a good time. Anthony, my name is Lew. Go have some fun.

"I will, Lew," said Anthony.

"I'm retired now, do a little real estate, some building with my son-in-law. What about you?"

"I'm retired too," said Yossarian.

"You're with Milo Minderbinder."

"Part time."

"I've got a friend who'd like to meet him. I'll bring him around. I'm in here with a weight problem. I have to keep it low because of a minor heart condition, and sometimes I take off too much. I like to check that out."

"With Dennis Teemer?"

"I know Teemer long. That lovely blonde lady looks like something special. I know I've seen her."

"I think you'd remember."

"That's why I know."

"Hodgkin's disease," confided Dennis Teemer.

"Shit," said Yossarian. "He doesn't want me to know."

"He doesn't want anybody to know. Not even me. And I know him almost thirty years. He sets records."

"Was he always that way? He likes to flirt."

"So do you. With everybody. You want everybody here to be crazy about you. He's just more open. You're sly."

"You're cunning and know too much."

In Rabinowitz, Yossarian saw a tall, direct man with a large frame who had lost heavy amounts of flesh. He was almost bald on top and wore a gold and graying brush mustache, and he was aggressively attentive to Angela, with an indestructible sexual self-confidence that overrode and reduced her own. Yossarian was amused to see her bend herself forward to take down her bosom, lay her hands in her lap to hold down her skirt, tuck back her legs primly. She was faced with an excess of overbearing friskiness, of a kind she did not take to but could not defeat.

"And he's not even Italian," Yossarian chided.

"You're not Italian, and I don't mind you. The trouble is I do know him from somewhere."

"Aha, Miss Moore, I think I may have it," said Rabinowitz with a probing smile, when he sauntered in and saw her again. "You remind me of a lovely little lady with good personality I met one time with a builder I was doing business with out in Brooklyn, near Sheepshead Bay. An Italian named Benny Salmeri, I think. You liked to dance."

"Really?" answered Angela, looking at him with eye-shadowed eyelids half lowered. "I used to know a builder named Salmeri. I'm not sure it's the same."

"Did you ever have a roommate who was a nurse?"

"I still do," answered Angela, now more flippant. "The one on duty here before. That's my partner, Melissa."

"That nice-looking thing with that good personality?"

"She takes care of our friend here. That's why he's in. She fucks old men and gives them strokes."

"I wish you wouldn't say that to people," Yossarian reproved her mildly, after Rabinowitz had gone. "You'll destroy her prospects. And it wasn't a stroke. You'll ruin mine too."

"And I wish," said Angela, "you wouldn't tell people my name is Moorecock."

Thty studied each other. "Who've I told?"

"Michael. That doctor Shumacher." Angela Moore hesitated, for intentional effect. "Patrick."

"Patrick?" Surprised, Yossarian sensed the reply before he put the question. "Which Patrick? Patrick Beach?"

"Patrick Beach."

"Oh shit," he said, after his jolt of surprise. "You're seeing Patrick?"

"He's called."

"You'll have to go sailing. You'll probably hate it."

"I've already been. I didn't mind."

"Doesn't he have trouble with his prostate?"

"Not right now. It's why he isn't coming by here anymore. You were close with his wife. Do you think she'll know?"

"Frances Beach knows everything, Angela."

"I'm not the first."

"She knows that already. She'll be able to guess."

"There really is something going on between you and that nurse, isn't there?" guessed Frances Beach. "I can almost smell coitus in this rancid air."

"Am I letting it show?"

"No, darling, she is. She watches over you more protectively than she should. And she's much too correct when others are here. Advise her not to be so tense."

"That will make her more tense."

"And you still have that vulgar compulsion I never could abide. You look down at a woman's bottom whenever she turns around, at all women, and with so much pride at hers. It's that pride of possession. You eye mine too, don't you?"

"I know I always do that. It doesn't make me proud. You still look pretty good."

"You would not think that if you didn't have memories."

"I've got another bad habit you'll find even worse."

"I'll bet I can guess. Because I do it too."

"Then tell me."

"Have you also arrived at that wretched stage when you can't look seriously into a human face without already picturing what it will look like when old?"

"I can't see how you knew."

"We've been too much alike."

"I do it only with women. It helps me lose interest."

"I do it with every face already giving clues. It's evil and morbid. This one will wear well."

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