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 was robbed once in that bus terminal," I told him.

"My son was arrested there."

"I was too," I told him.

"For being robbed?"

"For raising a fuss, a hysterical fuss, when I saw the police doing nothing."

"He was put in a wall chain."

"So was I," I informed him, "and I still don't think I'll ever want to go there again."

"Not even for a wedding? A wedding like this one? With four thousand pounds of the best beluga caviar on order?"

I won't want to go. There are some compromises left I just don't want to make. Although Esther, the widowed lady I see most often, "would die" to attend, just to be on the scene and gape at others.

By the time I met Glenda, her loose days were behind her. I occasionally felt at least a little bit cheated because I had not been there in her bohemian heyday to enjoy her sexually then too, as more others had done than she wished comfortably to recall, and enjoy her roommates and other female friends too. The thought of the freedom with which those four had lived continued to titillate, and torment, me. I'd had my own good promiscuous years too, with girls from student days at New York University and Greenwich Village and then from the company, and with others I'd met through people in the company, and even on a lark or two each semester while I was teaching at my college in Pennsylvania for two years. Nevertheless, for a little while about the time of our marriage, I could still find myself temperamental, privately jealous and petulant, over her entire erotic past, and resentful of all the males, the youths, that high school football player, and then of all the men who had played their fornicating roles as partners with her. I hated especially the ones I imagined who could bring her always and simply to dizzying climaxes. Virile performances did not seem to matter to her. They mattered to me, and among those rogues of whom I had some knowledge, or was otherwise motivated to invent, I had to put her husband Richard. I saw him in these demeaning dramas as a conquering cavalier and irresistible adversary, and this was true even after I'd grown to discount him as a bothersome, vain man, shallow and empty-headed, always brimming with energetic plans of narrow ambition, and one whom Glenda also now considered only boring and exasperating. That she had harbored a long passion for the likes of him was a shameful recollection almost too distressing for either one of us to bear.

I still don't know how a guy with melanoma was able to keep working and get raises and new girlfriends and even a couple of wives. But Richard did. Lew could have told me, I'd always thought; but I did not want Lew to guess what I had come to understand about myself, that I had never fully grown up, not even with Glenda, when it came to that matter of a man's way with a woman.

Richard's first new girlfriend that we laid eyes on was the nurse in the office of his oncologist. She was perky and knew everything about his physical state; yet she was soon sleeping with him anyway and answering the phone in his apartment as though the place were her own. His next was her closest friend, to whom she gave him up in good spirit, who also knew about his malignancies but married him anyway. While that marriage was breaking up, there were girls in succession and concurrently, and then came the willowy, intelligent woman from good family he married next, a successful lawyer with a large firm in Los Angeles, to which city he packed himself up and migrated, into an even better job than the one he resigned from, to set up house with her there and move farther away from any familial claims upon him here. And these were only the ones he went to extremes to make sure we learned about, the attractive ones he had call for him in our apartment when he showed up on his visitation rights while he still chose to exercise them, or to haggle once more over money for maintenance or the problems with Michael, which grew more marked as he grew older. Richard had already gone west before we heard that horrifying word schizophrenia ventured and learned from the Time library and research files what a borderline case was then presumed to be. Glenda disdained my awe of Richard.

"He's a salesman, for God sakes, and a show-off," she would exclaim in condemnation, when she heard me speculating enviously. "If he pitches a hundred women, he's bound to find a few who would find him better than nothing, or than the dopes they're already tied up with. He can talk, we know that."

We knew he had a certain persevering charm, though none for us. At times when she was moping, I would clarify things for her, in the argument we'd first used with each other over the morning newspaper about whichever man was then in the White House: he was base, self-centered, conceited, bogus, and untruthful, so why expect him to behave any other way? I still can't tell whether the little prick we have there now is a bigger little prick than the two little pricks before him, but he certainly seems big enough, what with Noodles Cook as a confidant and that gluttonous, silver-haired parasite C. Porter Lovejoy, just out of prison on another one of those presidential pardons, his moral supervisor.

I always managed the mediation with Richard craftily. With me too he was driven to come across as likable and worldly, and I never let him feel positive he was succeeding.

"Set up a lunch," I volunteered, not long after Glenda and I started telling each other things and singling each other out to talk to at parties. "Let me speak to him for you."

"To who?" she asked.

"To whom," came out of me spontaneously.

"Oh, Lord!" she cried, her dark mood lifting. "You're a pedant, you know. Singer, you're a nice bright man, but what a pedant you are!"

It was the first time I'd heard that word pedant spoken. It was then, I believe, maybe at just that moment, that I consciously began to put to sleep my resistance against ever allowing myself to feel much lasting connection to any woman, even to those with whom I'd been feverishly enthralled for a while. My fear was not of commitment but of entrapment. But any woman who could use that word pedant, I reasoned, call her ex-husband "duplicitous" and a "narcissist," and describe an assistant manager we both worked for as a "troglodyte" was a woman I felt I could spend time talking to and perhaps even want to live with, despite the three kids, a first husband, and her extra year in age. And a Christian too. Guys from Coney Island thought I was going crazy when they heard who Sammy Singer was finally marrying, a girl with three children, a Gentile, one year older than he was. And not even rich!

Glenda had another trait I never mentioned to anyone until after she was gone, and then I told only Lew, one time when both of us were drinking, me with my Scotch on ice, he still with his Carstairs and Coke: she was amorous and daring when drinking and out for a good time, full of mischievous fun, and all the more so after we were married, and there was no end to her spontaneity and my exhilarating surprises right up until the time she fell sick and slowed down. More than once in the back of a car coining home from a party with people we hardly knew, she would begin to neck and grope and rub, and she would go farther and farther, and it was up to me to strain to continue a level conversation with the couple in front, making inordinately loud jokes to supply an explanation for my laughing and talking loudly and brokenly, for she would bob up with remarks and answer questions also before ducking down again to work on me some more, and it was something to keep more than the catch out of my voice when she finally made sure I came. I had stupefying orgasms, she knew, and I still do. They are slower in starting but last much longer. Lew told Claire I had tears in my eyes when I reminisced about that part, she let me know the last time we saw each other, at lunch in a restaurant, not long after Lew died, when she was flying off to Israel the first time on the chance she might buy a seashore house there for vacations for herself and any of her children who might want to come.

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