Angels — Denis Johnson

Angels, Denis Johnson’s 1983 début novel, begins as a small book about not very much and ends as a small book about pretty much everything. Johnson has a keen eye and keener ear for the kinds of marginal characters many of us would rather overlook all together, people who live and sweat and suffer in the most wretched, unglamorous, and anti-heroic vistas of a decayed America. The great achievement of the novel (beyond Johnson’s artful sentences) is in staging redemption for a few–not all, but a few–of its hopeless anti-heroes.

Take Jamie, for instance. Angels opens on this unfortunate young woman as she’s hauling her two young children onto a Greyhound bus. She’s leaving her cheating husband for relatively unknown prospects, lugging her children around like literal and symbolic baggage. Jamie should be sympathetic, but somehow she’s not. She’s someone we’d probably rather not look at, yelling at her kids while she drags on a Kool. Even she knows it. Of two nuns on the bus: “But Jamie could sense that they found her make-up too thick, her pants too tight. They knew she was leaving her husband, and figured she’d turn for a living to whoring. She wanted to tell them what was what, but you can’t talk to a Catholic.” Jamie finds a closer companion, or at least someone equally bored and equally prone to drinking and substance abuse, in Bill Houston. The ex-con, ex-navy man is soon sharing discreet boilermakers with her on the back of the bus, and she makes the first of many bad decisions in deciding to shack up with him over the next few weeks in a series of grim motels.

The bus, the bus stations, the motels, the bars–Johnson details ugly, urgent gritty second-tier cities and crumbling metropolises at the end of the seventies. The effect is simply horrifying. This is a world that you don’t want to be in. Johnson’s evocation never veers into the grotesque, however; he never risks tipping into humor, hyperbole, or distance. The poetic realism of his Pittsburgh or his Chicago is virulent and awful, and as Jamie drunkenly and druggily lurches toward an early trauma, one finds oneself hoping that even if she has to fall, dear God, just let those kids be okay. It’s tempting to accuse Johnson of using the kids to manipulate his audience’s sympathy, but that’s not really the case. Sure, there’ s a manipulation, but it veers toward horror, not sympathy. (And anyway, all good writing manipulates its audience). Johnson’s milieu here is utterly infanticidal and Jamie is part and parcel of the environment: “Jamie could feel the muscles in her leg jerk, she wanted so badly to kick Miranda’s rear end and send her scooting under the wheels, of, for instance, a truck.”

Jamie is of course hardly cognizant of the fact that her treatment of her children is the psychological equivalent of kicking them under a truck. She’s a bad mother, but all of the people in this novel are bad; only some are worse–much worse–than others. Foolishly looking for Bill Houston on the streets of Chicago, she notices that “None of these people they were among now looked at all legitimate.” Jamie is soon conned, drugged, and gang-raped by a brother and his brother-in-law; the sister/wife part of that equation serves as babysitter during the horrific scene.

And oh, that scene. I put the book down. I put the book away. For two weeks. The scene is a red nightmare, the tipping point of Jamie’s sanity, and the founding trauma that the rest of the novel must answer to–a trauma that Bill Houston, specifically, must somehow pay for, redress, or otherwise atone. The rape and its immediate aftermath are hard to stomach, yet for Johnson it’s no mere prop or tasteless gimmick. Rather, the novel’s narrative thrust works to somehow answer to the rape’s existential cruelty, its base meanness, its utter inhumanity. Not that getting there is easy.

Angels shifts direction after the rape, retreating to sun-blazed Arizona, Bill Houston’s boyhood home and home to his mother and two brothers. There’s a shambling reunion, the book’s closest moment of levity, but it’s punctuated and punctured by Jamie’s creeping insanity, alcoholism, and drug addiction. Johnson’s signature humor is desert-dry and rarely shows up to relieve the narrative tension. Jamie hazily evaporates into the background of the book as the Houston brothers, along with a dude named Dwight Snow, plan a bank robbery. Another name for Angels might be Poor People Making Bad Decisions out of Sheer Desperation. Burris, the youngest Houston, has a heroin habit to feed. James Houston is just bored and nihilistic and seems unable to enjoy his wife and child and home. On hearing about the bank robbery plan, Jamie achieves a rare moment of insight: “Rather unexpectedly it occurred to her that her husband Curt, about whom she scarcely ever thought, had been a nice person. These people were not. She knew that she was in a lot of trouble: that whatever she did would be wrong.” And of course, Jamie’s right.

The bank robbery goes wrong–how could it not?–but to write more would risk spoiling much of the tension and pain at the end of Angels. Those who’ve read Jesus’ Son or Tree of Smoke will see the same concern here for redemption, the same struggle, the same suffering. While Jesusian narratives abound in our culture, Johnson is the rare writer who can make his characters’ sacrifices count. These are people. These are humans. And their ugly little misbegotten world is hardly the sort of thing you want to stumble into, let alone engage in, let alone be affected by, let alone be moved by. But Johnson’s characters earn these myriad affections, just as they earn their redemptions. Angels is clearly not for everyone, but fans of Raymond Carver and Russell Banks should make a spot for it on their reading lists (as well as Johnson fans like myself who haven’t gotten there yet). Highly recommended.