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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Mr. Tilyou had room to grow. Below him was a lake of ice and a desert of burning sand, some meadows of mud, a river of boiling blood, and another of boiling pitch. There were dark woods he could have if he could think what to do with them, with trees with black leaves, and some leopards, a lion, a dog with three heads, and a she-wolf, but these were never to be caged, which ruled out a zoo. But his imagination was not as supple as formerly; he had fears he might be getting old. He had triumphed with symbols, was used to illusions. His Steeplechase ride was not really a steeplechase, his park was not a park. His gifts were in collaborative pretense. His product was pleasure. His Tornado was not a tornado, his Dragon's Gorge was not a gorge. No one thought they were, and he could not imagine what he would have done with a true tornado or a genuine gorge and a real dragon. He was not positive he could hit upon sources of hilarity in a desert with burning sand, a rain of fire, or a river of boiling blood.

The recapture of his house filled him still with pride in his patient tenacity. It had taken thirty years, but where there is no time, one always has plenty.

The house was of yellow wood, with three floors and gabled attic. No one seemed to comment when, shortly after his death, the lowest floor had disappeared and the house of three stories had become a house with two. Neighborhood pedestrians did sometimes remark that the letters on the front of the lowest step appeared to be sinking, as indeed they were. By the time of the war, the name was almost half gone. During the war, young men went into military service, families moved, and Mr. Tilyou spied again his chance to act. Soon after the war, no one found curious the empty space, soon a parking lot, that was where the house had been. When shortly afterward his Steeplechase amusement park disappeared too, and then the Tilyou movie theater closed, his name was gone from the island and out of mind.

Now, in possession of everything he wanted and safe at home, he was the envy of his Morgans and Rockefellers. His engaging magic mirrors never had any deforming effect upon him or his ticket takers.

Returning to his office after work near the end of a day, although there were no days and he had no work, he found Mr. Rockefeller. He gave him another dime and chased him off. It was hard to associate the poor figure even remotely with that complex of business buildings in Rockefeller Center and with that oval pearl of an ice-skating rink. He saw from an imperious note on his rolltop desk that Mr. Morgan would be back to have it out with him once more over Mr. Tilyou's new no-smoking policy. Rather than face him again so soon, Mr. Tilyou took back his dust-free bowler from the peg on his coatrack. He fluffed up the petals of the flower in his lapel, which was always fresh and always would be. With energetic gait, he hurried from the office to his home, humming quietly the delightful Siegfried Funeral Music that resonated from his carousel.

Bounding up his stoop of three steps, he stumbled very slightly on the top one, and this had not happened to him before. On the shelf above the pair of sinks at his kitchen window, he spied something strange. The Waterford crystal vase with the white lilies looked perfectly normal, but, mysteriously, the water inside seemed to lie on an angle. In a minute he found a carpenter's level and set it down on the sill of the window. He shivered with a chilling surprise. The house was out of plumb. He strode back outside with wonder, his brow furrowing. At the stoop with the vertical face bearing his name, he had no need for the carpenter's level to tell him the steps were awry, as was his walkway. The right side was dipping. The baseline of the letters spelling TILYOU was tilting downward and the oval bottoms of the letters at the end were already out of sight. He went rigid with alarm. Without his knowledge or intent, his house was beginning to sink again. He had no idea why.

BOOK TEN

30 SAMMY

For reasons she did not know, her father had not seemed to like her as a child or exhibit anything closer to acceptance when she was older and married. He was friendlier to her sister and brother, but not by much.

She was the oldest of three children. Her mother was more of a comfort but could effect no alleviating refinements in the household atmosphere dominated by the restrained and aloof male parent. They were Lutherans in Wisconsin, not far from the state capital in Madison, where, in winter, the days are short, the nights black and long, and the biting winds frigid. "It was just the way he always was," explained her mother, defending him. "We knew each other from church and school." They were the same age and both were virgins when they married. "Our families picked us out for each other. That's the way we did things then. I don't think he has ever been really happy."

He ran a small retail agricultural supply business he had inherited and enlarged, and he bantered more freely with his employees and suppliers, who were fond of him, than he was likely to do at home. He was commonly more at ease with others. It was nothing against her personally, her mother kept insisting, for as a child she had always been good. But at her father's death, from lung cancer too, they found out he had made no provision for her in his will, although he bequeathed to her three children portions that in total equaled that left her brother and her sister, and he awarded her discretionary power as trustee. She was not altogether surprised.

"What else would I expect?" Glenda said, when she spoke of it. "Don't think it still doesn't hurt."

As a youth, the Lutheran father, who had no taste for music and no feel for dancing or any other kind of the festive foolery the mother savored-she made masks for Halloween and loved costume parties-had revealed a native talent for drawing and an excited curiosity in the structures of buildings and elaborate architecture. But these latent aptitudes were ignored in the severe circumstances of a rural environment regulated by a father sterner than he turned out to be, with parents leading lives of restriction more spare than his own. No thought was given to college or art studies, and the suppression of these propensities could have been crucial in the forging of his dour personality and the inexpressible anguish in which his character was rooted. Only later could she define him that way and pity him sporadically. A frugal man of cautious extravagances, he nevertheless made known early his aspiration to provide a higher education for each of ihe children and the sentiment that he would be pleased if they availed themselves of the opportunity. Glenda alone made use of this singular generosity; and he did not ever let abate his disappointment with the others, as though rebuffed and mortified intentionally. He was pleased with her performance in her primary schools but gave voice to his praise critically, in a vein of reproach that provided little ground for rejoicing. If she brought home a test paper of ninety in algebra or geometry, perhaps the sole person with a grade so high, he wished to know, after a reluctant compliment, why she had missed the one problem in ten she had failed to solve. An A – would evoke questions about the minus, an A would impel him to sulk about the absence of the plus. There was no drollery in his seriousness; there was a wry kind in her retelling.

It is a miracle of sorts that she grew up to be lighthearted, with little self-doubt, and was competent and decisive, which was much what I needed.

In her secondary school, with some support from her mother and much encouragement from her younger sister, she succeeded in winning a place on the cheerleading squad. However, still somewhat shy and not then by nature gregarious, she was never inducted wholeheartedly into the buoyant social lift the other girls enjoyed among themselves and with the school athletes and their gross acolytes. There were many parties and social rallies she did not attend. She was shorter by an inch or two than most her age, with dimples, brown eyes, and honey-colored hair; thin when young but with a noticeable bosom. She did not dale much, mainly because she was not always comfortable when she did, and in this too lay the occasion for mixed signals from her father. He was vexed when she went out unchaperoned, as though she were guilty of indecency merely by going; and on the other hand, he spoke in self-referential humiliation, as though himself shunned, when she was home evenings on weekends. He prophesied in dire admonition of the lifelong, bleak pitfalls inherent in becoming a "wallflower" early, as he was inclined to feel he himself had been, and of the misuse he had made of his chances when young. Wallflower was a word he spoke often. Personality was another; it was his grim conclusion that a person always ought to have more. Neither she, her brother, nor her sister could recall ever being held by him in a hug.

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