The Stories of John Cheever (1979 Pulitzer Prize)

by John Cheever

  * * *

  The fitness of what I did then or rather left undone still confuses me. She broke her teaching contract, joined Equity, and began rehearsals. As soon as Ozamanides opened she hired Mrs. Uxbridge and took a hotel apartment near the theatre. I asked for a divorce. She said she saw no reason for a divorce. Adultery and cruelty have well-marked courses of action but what can a man do when his wife wants to appear naked on the stage? When I was younger I had known some burlesque girls and some of them were married and had children. However, they did what Bertha was going to do only on the midnight Saturday show, and as I remember their husbands were third-string comedians and the kids always looked hungry.

  A day or so later I went to a divorce lawyer. He said a consent decree was my only hope. There are no precedents for simulated carnality in public as grounds for divorce in New York State and no lawyer will take a divorce case without a precedent. Most of my friends were tactful about Bertha's new life. I suppose most of them went to see her, but I put it off for a month or more. Tickets were expensive and hard to get. It was snowing the night I went to the theatre, or what had been a theatre. The proscenium arch had been demolished, the set was a collection of used tires, and the only familiar features were the seats and the aisles. Theatre audiences have always confused me. I suppose this is because you find an incomprehensible variety of types thrust into what was an essentially domestic and terribly ornate interior. There were all kinds there that night. Rock music was playing when I came in. It was that deafening old-fashioned kind of rock they used to play in places like Arthur. At eight-thirty the houselights dimmed, and the cast—there were fourteen—came down the aisles. Sure enough, they were all naked excepting Ozamanides, who wore a crown.

  I can't describe the performance. Ozamanides had two sons, and I think he murdered them, but I'm not sure. The sex was general. Men and women embraced one another and Ozamanides embraced several men. At one point a stranger, sitting in the seat on my right, put his hand on my knee. I didn't want to reproach him for a human condition, nor did I want to encourage him. I removed his hand and experienced a deep nostalgia for the innocent movie theatres of my youth. In the little town where I was raised there was one—the Alhambra. My favorite movie was called The Fourth Alarm. I saw it first one Tuesday after school and stayed on for the evening show. My parents worried when I didn't come home for supper and I was scolded. On Wednesday I played hooky and was able to see the show twice and get home in time for supper. I went to school on Thursday but I went to the theatre as soon as school closed and sat partway through the evening show. My parents must have called the police, because a patrolman came into the theatre and made me go home. I was forbidden to go to the theatre on Friday, but I spent all Saturday there, and on Saturday the picture ended its run. The picture was about the substitution of automobiles for horse-drawn fire engines. Four fire companies were involved. Three of the teams had been replaced by engines and the miserable horses had been sold to brutes. One team remained, but its days were numbered. The men and the horses were sad. Then suddenly there was a great fire. One saw the first engine, the second, and the third race off to the conflagration. Back at the horse-drawn company, things were very gloomy. Then the fourth alarm rang—it was their summons—and they sprang into action, harnessed the team, and galloped across the city. They put out the fire, saved the city, and were given an amnesty by the Mayor. Now on the stage Ozamanides was writing something obscene on my wife's buttocks.

  Had nakedness—its thrill—annihilated her sense of nostalgia? Nostalgia—in spite of her close-set eyes—was one of her principal charms. It was her gift gracefully to carry the memory of some experience into another tense. Did she, mounted in public by a naked stranger, remember any of the places where we had made love—the rented houses close to the sea, where one heard in the sounds of a summer rain the prehistoric promises of love, peacefulness, and beauty? Should I stand up in the theatre and shout for her to return, return, return in the name of love, humor, and serenity? It was nice driving home after parties in the snow, I thought. The snow flew into the headlights and made it seem as if we were going a hundred miles an hour. It was nice driving home in the snow after parties. Then the cast lined up and urged us—commanded us in fact—to undress and join them.

  This seemed to be my duty. How else could I approach understanding Bertha? I've always been very quick to get out of my clothes. I did. However, there was a problem. What should I do with my wallet, wristwatch, and car keys? I couldn't safely leave them in my clothes. So, naked, I started down the aisle with my valuables in my right hand. As I came up to the action a naked young man stopped me and shouted—sang—"Put down your lendings. Lendings are impure."

  "But it's my wallet and my watch and the car keys," I said.

  "Put down your lendings," he sang.

  "But I have to drive home from the station," I said, "and I have sixty or seventy dollars in cash."

  "Put down your lendings."

  "I can't, I really can't. I have to eat and drink and get home."

  "Put down your lendings."

  Then one by one they all, including Bertha, picked up the incantation. The whole cast began to chant: "Put down your lendings, put down your lendings."

  The sense of being unwanted has always been for me acutely painful. I suppose some clinician would have an explanation. The sensation is reverberative and seems to attach itself as the last link in a chain made up of all similar experience. The voices of the cast were loud and scornful, and there I was, buck naked, somewhere in the middle of the city and unwanted, remembering missed football tackles, lost fights, the contempt of strangers, the sound of laughter from behind shut doors. I held my valuables in my right hand, my literal identification. None of it was irreplaceable, but to cast it off would seem to threaten my essence, the shadow of myself that I could see on the floor, my name.

  I went back to my seat and got dressed. This was difficult in such a cramped space. The cast was still shouting. Walking up the sloping aisle of the ruined theatre was powerfully reminiscent. I had made the same gentle ascent after King Lear and The Cherry Orchard. I went outside.

  It was still snowing. It looked like a blizzard. A cab was stuck in front of the theatre and I remembered then that I had snow tires. This gave me a sense of security and accomplishment that would have disgusted Ozamanides and his naked court; but I seemed not to have exposed my inhibitions but to have hit on some marvelously practical and obdurate part of myself. The wind flung the snow into my face and so, singing and jingling the car keys, I walked to the train.

  ARTEMIS, THE HONEST WELL DIGGER

  Artemis loved the healing sound of rain—the sound of all running water—brooks, gutters, spouts, falls, and taps. In the spring he would drive one hundred miles to hear the cataract at the Wakusha Reservoir. This was not so surprising, since he was a well driller and water was his profession, his livelihood as well as his passion. Water, he thought, was at the root of civilizations. He had seen photographs of a city in Umbria that had been abandoned when the wells went dry. Cathedrals, palaces, farmhouses had all been evacuated by drought—a greater power than pestilence, famine, or war. Men sought water as water sought its level. The pursuit of water accounted for epochal migrations. Man was largely water. Water was man. Water was love. Water was water.

  To get the facts out of the way: Artemis drilled with an old Smith & Mathewson chain-concussion rig that struck the planet sixty blows a minute. It made a terrible racket and there had been two complaints. One was from a very nervous housewife and the other from a homosexual poet who said that the concussion was ruining his meter. Artemis rather liked the noise. He lived with his widowed mother at the edge of town in one of those little conclaves of white houses that are distinguished by their displays of the American flag. You find them on outlying roads—six or seven small houses gathered together for no particular reason. There is no store, no church, nothing central. The lawns on which dogs sleep are well trimmed and every
thing is neat, but every house flies its Old Glory. This patriotic zeal cannot be traced back to the fact that these people have received an abundance of their country's riches. They haven't. These are hard-working people who lead frugal lives and worry about money. People who have profited splendidly from our economy seem to have no such passion for the Stars and Stripes. Artemis' mother, for example—a hard-working woman—had a flagpole, five little flags stuck into a window box, and a seventh flag hanging from the porch. His father had chosen his name, thinking that it referred to artesian wells. It wasn't until Artemis was a grown man that he discovered he had been named for the chaste goddess of the hunt. He didn't seem to mind and, anyhow, everybody called him Art. He wore work clothes and in the winter a seaman's knitted cap. His manner with strangers was rustic and shy and something of an affectation, since he read a good deal and had an alert and inquisitive intelligence. His father had learned his trade as an apprentice and had not graduated from high school. He regretted not having an education and was very anxious that his son should go to college. Artemis went to a small college called Laketon in the north of the state and got an engineering degree. He was also exposed to literature through an unusually inspiring professor named Lytle. Physically, there was nothing remarkable about Lytle, but he was the sort of teacher in whose presence students had for many years felt an irresistible desire to read books, write themes, and discuss their most intimate feelings about the history of mankind. Lytle singled out Artemis and encouraged him to read Swift, Donne, and Conrad. He wrote four themes for this course, which Lytle charitably graded A. His ear for prose was damaged by an incurable fascination for words like "cacophony," "percussion," "throbbingly," and "thumpingly." This may have had something to do with his profession.

  Lytle suggested that he get an editorial job on an engineering journal and he seriously thought about this, but he chose instead to be a well driller. He made his decision one Saturday when he and his father took their rig to the south of the county, where a large house—an estate—had been built. There was a swimming pool and seven baths and the well produced three gallons a minute. Artemis contracted to go down another hundred feet, but even then the take was only six gallons a minute. The enormous, costly, and useless house impressed him with the importance of his trade. Water, water. (What happened in the end was that the owner demolished six upstairs bedrooms to make room for a storage tank, which the local fire department filled twice a week.)

  Artemis' knowledge of ecology was confined to water. Going fishing on the first of April, he found the falls of the South Branch foaming with soapsuds. Some of this was bound to leach down to where he worked. Later in the month, he caught a five-pound trout in the stream at Lakeside. This was a phenomenal fish for that part of the world and he stopped to show his catch to the game warden and ask him how it should be cooked. "Don't bother to cook that fish," said the warden, "It's got enough DDT to put you in the hospital. You can't eat these fish any more. The government sprayed the banks with DDT about four years ago and the stuff all washed into the brook." Artemis had once dug a well and found DDT, and another had traces of fuel oil. His sense of a declining environment was keen and intensely practical. He contracted to find potable water and if he failed he lost his shirt. A polluted environment meant for him both sadness at human stupidity and rapaciousness and also a hole in his pocket. He had failed only twice, but the odds were running against him and everybody else.

  Another thing: Artemis distrusted dowsers. A few men and two women in the county made their living by divining the presence of subterranean water with forked fruit twigs. The fruit had to have a pit. An apple twig, for example, was no good. When the fruit twig and the diviner's psyche had settled on a site, Artemis would be hired to drill a well. In his experience, the dowsers' average was low and they seldom divined an adequate supply of water, but the fact that some magic was involved seemed to make them irresistible. In the search for water, some people preferred a magician to an engineer. If magic bested knowledge, how simple everything would be: water, water.

  Artemis was the sort of man who frequently proposed marriage, but at thirty he still had no wife. He went around for a year or so with the MackIin girl. They were lovers, but when he proposed marriage, she ditched him to marry Jack Bascomb because he was rich. That's what she said. Artemis was melancholy for a month or so, and then he began going around with a divorcée named Maria Petroni who lived on Maple Avenue and was a bank teller. He didn't know, but he had the feeling that Maria was older than he. His ideas about marriage were romantic and a little puerile and he expected his wife to be a fresh-faced virgin. Maria was not. She was a lusty, hard-drinking woman and they spent most of their time together in bed. One night or early morning, he woke at her side and thought over his life. He was thirty and he still had no bride. He had been dating Maria for nearly two years. Before he moved toward her to wake her, he thought of how humorous, kind, passionate, and yielding she had always been. He thought, while he stroked her backside, that he loved her. Her backside seemed almost too good to be true. The image of a pure, fresh girl like the girl on the oleo-margarine package still lingered in some part of his head, but where was she and when would she appear? Was he kidding himself? Was he making a mistake to downgrade Maria for someone he had never seen? When she woke, he asked her to marry him.

  "I can't marry you, darling," she said.

  "Why not? Do you want a younger man?"

  "Yes, darling, but not one. I want seven, one right after the other."

  "Oh," he said.

  "I must tell you. I've done it. This was before I met you. I asked seven of the best-looking men around to come for dinner. None of them were married. Two of them were divorced. I cooked veal scaloppine. There was a lot to drink and then we all got undressed. It was what I wanted. When they were finished, I didn't feel dirty or depraved or shameful. I didn't feel anything bad at all. Does that disgust you?"

  "Not really. You're one of the cleanest people I've ever known. That's the way I think of you."

  "You're crazy, darling," she said.

  He got up and dressed and kissed her good night, but that was about it. He went on seeing her for a while, but her period of faithfulness seemed to have passed and he guessed that she was seeing other men. He went on looking for a girl as pure and fresh as the girl on the oleo-margarine package.

  This was in the early fall and he was digging a well for an old house on Olmstead Road. The first well was running dry. The people were named Filler and they were paying him thirty dollars a foot, which was the rate at that time. He was confident of finding water from what he knew of the lay of the land. When he got the rig going, he settled down in the cab of his truck to read a book. Mrs. Filler came out to the truck and asked if he didn't want a cup of coffee. He refused as politely as he could. She wasn't bad-looking at all, but he had decided, early in the game, to keep his hands off the housewives. He wanted to marry the girl on the oleo-margarine package. At noon he opened his lunch pail and was halfway through a sandwich when Mrs. Filler came back to the cab. "I've just cooked a nice hamburger for you," she said.

  "Oh, no, thank you, ma'am," he said. "I've got three sandwiches here." He actually said "ma'am" and he sometimes said "shucks," although the book he was reading, and reading with interest, was by Aldous Huxley.

  "You've got to come in now," she said. "I won't take no for an answer." She opened the cab door and he climbed down and followed at her side to the back door.

  She had a big butt and a big front and a jolly face and hair that must have been dyed, because it was a mixture of grays and blues. She had set a place for him at the kitchen table and she sat opposite him while he ate his hamburger. She told him directly the story of her life, as was the custom in the United States at that time. She was born in Evansville, Indiana, had graduated from the Evansville North High School, and had been elected apple-blossom queen in her senior year. She then went on to the university in Bloomington, where Mr. Filler, who was older than s
he, had been a professor. They moved from Bloomington to Syracuse and then to Paris, where he became famous.

  "What's he famous for?" asked Artemis.

  "You mean you've never heard of my husband?" she said. "J. P. Filler. He's a famous author."

  "What did he write?" asked Artemis.

  "Well, he wrote a lot of things," she said, "but he's best known for Shit."

  Artemis laughed, Artemis blushed. "What's the name of the book?" he asked.

  "Shit," she said. "That's the name of it. I'm surprised you never heard of it. It sold about half a million copies."

  "You're kidding," Artemis said.

  "No I'm not," she said. "Come with me. I'll show you."

  He followed her out of the kitchen through several rooms, much richer and more comfortable than anything he was familiar with. She took from a shelf a book whose title was Shit. "My God," said Artemis, "how did he come to write a book like that?"

  "Well," she said, "when he was at Syracuse, he got a foundation grant to investigate literary anarchy. He took a year off. That's when we went to Paris. He wanted to write a book about something that concerned everybody, like sex, only by the time he got his grant, everything you could write about sex had been written. Then he got this other idea. After all, it was universal. That's what he said. It concerned everybody. Kings and Presidents and sailors at sea. It was just as important as fire, water, earth, and air. Some people might think it was not a very delicate subject to write about, but he hates delicacy, and anyhow, considering the books you can buy these days, Shit is practically pure. I'm surprised you never heard about it. It was translated into twelve languages. See." She gestured toward a bookcase, where Artemis read Merde, Kaka, and [Cyrillic Word]. "I can give you a paperback, if you'd like."