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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I passed on the word. News came back from Smokey that he would be out looking for me and that he'd better not find me. At night after that I went to Happy's Luncheonette on Mermaid Avenue and sat down to wait for him. Sammy and Winkler looked weak when they came in and saw me. I thought they would faint.

"What are you doing here?" Winkler said. "Get out, get out."

"Don't you know Smokey is out hunting for you?" said Sammy. "He's got a few of his pals."

"I'm making it easier for him to find me. I'll buy you some sodas and sandwiches if you want to wait here. Or you can sit where you want."

"At least go get your brothers if you want to act crazy," said Sammy. "Should I run to your house?"

"Have a malted instead."

We did not wait long. Smokey spotted me as soon as he wdked in-I sat facing the door-and came right up to the booth, backed up by a guy named Red Benny and a weird one known as Willie the Geep.

"I've been looking for you. I've got things to say."

"I'm listening." Our eyes were locked on each other's. "I came to hear them."

"Then come on outside. I want to talk to you alone."

I mulled that one over. They were thirty or over, and we were seventeen and a half. Smokey had been in the ring. He'd been to prison and was cut up badly at least once in a knife fight.

"Okay, Smokey, if that's what you want," I decided. "But have your boys there sit down awhile if you want to talk to me alone outside, and if that's what you want to do."

"You've been saying bad things about me, right? Don't bullshit. Your father too."

"What bad things?"

"That you fired me and I've been stealing. Your father didn't fire me. Let's get that thing straight. I quit. I wouldn't work for any of you anymore."

"Smokey"-I felt that nerve on the side of my cheek and neck start to tick-"the old man wants me to be sure to tell you chat if you ever set foot in the shop again he'll break your back."

That made Smokey pause. He knew the old man. If the old man said it, Smokey knew that he meant it. My father was a short man with the biggest, thickest shoulders I ever saw and small blue eyes in a face that reminded people of a torpedo or artillery shell. With his freckles and hard lines and liver spots, he looked like an iron ingot, an anvil five and a half feet tall. He'd been a blacksmith. All of us have large heads with big square jaws. We look like Polacks and know we're Yids. In Poland with one blow of his fist to the forehead he'd killed a Cossack who'd raised his voice to my mother, and in Hamburg he came close to doing that again with some kind of immigration warden who'd made that same mistake of being rude to my mother but backed away in time. In my family no one ever got away free with insulting any of us, except, I guess, for Sammy Singer with me and my wife with the big tits.

"How's your dad, Marvin?" Red Benny said to Winkler, while everyone in Happy's Luncheonette watched, and after that Smokey had another reason to be careful.

Winkler drummed the fingers of one hand on the table and kept quiet.

His father was a bookmaker and made more than just about anyone else in the neighborhood. They even had a piano in the house for a while. Red Benny was a runner, a collector, a loan shark, a debtor, and a burglar. One summer he and a gang cleaned out every room in a resort hotel except the one rented by Winkler's folks, making the people upstate start to wonder what Winkler's pop did for a living to let just him be spared.

By then Smokey was already slowing down a little. "You and your father-you're telling people I stole a building from you, right? I didn't steal that house. I found the janitor and made the deal for it all by myself."

"You found it while you were working for us," I told him. "You can work for us or you can go in business for yourself. You can't do both the same hour."

"Now the dealers won't buy anything from me. Your father won't let them."

"They can do what they want. But if they buy from you, they can't buy from him. That's all he said."

"I don't like that. I want to talk to him. I want to talk to him now. I want to straighten him out too."

"Smokey," I said, speaking slowly and feeling suddenly very, very sure of myself, "you ever raise a voice on even one word to my father, and I'll see that you die. You lift a finger to me, and he'll see that you die."

He seemed impressed with that.

"Okay," he gave in, with his face falling. "I'll go back to work for him. But you tell him I'll want sixty a week from now on."

"You don't understand. He might not take you back for even fifty. I'll have to try to talk to him for you."

"And he can have the house I found if he gives me five hundred."

"He might give you the usual two."

"When can I start?"

"Give me tomorrow to try to bring him around." Actually, it did take some talking to remind the old man that Smokey worked hard and that he and our black guy were pretty good together at chasing other junkmen off.

"Loan me fifty now, Louie, will you?" Smokey begged as a favor. "There's some good smoking stuff from Harlem outside that I want to invest in."

"I can only lend you twenty." I could have given him more. "That's funny," I said when they'd gone out the door. I was flexing my fingers. "Something's wrong with my hand. When I gave him that twenty I could hardly bend it."

"You were holding the sugar bowl," Winkler said. His teeth were shivering.

"What sugar bowl?"

"Didn't you know?" Sammy snapped at me almost angrily. "You were gripping that sugar bowl like you were going to kill him with it. I thought you would squeeze it to pieces."

I leaned back with a laugh and ordered some pie and ice cream for the three of us. No, I hadn't known I was gripping that cylindrical thick sugar shaker while we were talking. My head was cool and collected while I looked him straight in the eye, and my arm was ready for action without my even knowing it. Sammy let out some air and turned white as he lifted his hand from his lap and put back down the table knife he had been holding.

"Tiger, why were you hiding it?" I said with a laugh. "What good would that do me?"

"I didn't want them to see how my hands were shaking," Sammy whispered.

"Would you know how to use it?"

Sammy shook his head. "And I don't ever want to find out. Lew, I've got to tell you right now. If we're ever together and you feel like getting into a fight, I want you to know that you can positively count on me not to stand by you again."

"Me neither," said Winkler. "Red Benny wouldn't do nothing with me around, but I wasn't so sure about the others."

"Gang," I told them, "I wasn't counting on you this time."

"Were you really going to hit him with that sugar shaker?"

"Sammy, I would have hit him with the whole luncheonette if I had to. I would have hit him with you."

I was already past sixty-five, two years to the day, when I nabbed that young purse snatcher, a tall, swift guy in his twenties. It's a cinch to keep track because of my birthday. As a present to me, I had to bring Claire down into the city to one of those shows with songs that she wanted to see and I didn't. We got there early and were standing outside with a bunch of other people under the marquee of a theater that wasn't too far from that Port Authority Bus Terminal. That bus terminal is a place that still gives me a laugh whenever I remember the time Sammy had his pocket picked coming back from a visit to us and was almost thrown in jail for yelling at the police to try to make them do something about it. By then I'd already made peace with the Germans and drove a Mercedes. Claire had one too, a nifty convertible. All of a sudden a woman let out a geshrei. I saw a couple of guys come racing away just in back of me. Without thinking I grabbed hold of one. I spun him around, lifted him up, and slammed him down on his chest on the hood of a car. Only when I had him down did I see he was young, tall, and strong. He was a brown guy.

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