By John Cheever, Franklin H. Dennis, George W. Hunt SJ
The tales during this assortment are ones that Cheever wrote within the Thirties and Nineteen Forties. There are thirteen overall, eleven of which aren't on hand wherever else, together with the hot Library of the United States version. curiosity in Cheever's paintings has been renewed with the book of a brand new biography, John Cheever: A existence by way of Blake Bailey. Readers of Cheever, either new and outdated, should be thinking about this crucial assortment
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Additional info for Fall River and other uncollected stories
She watches the forms shift closely around the flame, black padded movements, elegant, silent gestures. She cannot hear them talk. Only the sound of the women’s bass laughter. The evening air is warm. The curtains are flapping. All she can think of is Bock beer and Bermuda onions. There is a strange forgotten blood bond between these two exact types of Americans. The influence of the landscape is secret and beyond control. The first have erected their tents on the soil between the hills. The second have built these strange white farmhouses that look like deflowered temples in a violated wilderness.
Updike recalled that: One could not be with John Cheever for more than five minutes without seeing stories take shape: past embarrassments worked up with wonderful rapidity into fables, present surroundings made to pulse with sympathetic magic as he glanced around him and drawled a few startlingly concentrated words in that mannerly, rapid voice of his. This present collection of thirteen hitherto uncollected stories allows us to watch what Updike described: stories take shape. But not that only: to watch a career take shape as well.
I insert these biographical parallels with some trepidation, because Cheever himself was vehement about the oft-noted confusion between fiction and autobiography. In a 1976 interview, later published in the Stanford University literary review, Sequoia, he reiterated this objection by saying: What I usually say is, fiction is not crypto-autobiography: its splendor is that it is not autobiographical. Nor is it biographical. It is a very rich complex of autobiography and biography, of information—factual information, spiritual information, apprehension.