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"Neverwhere" by Neil Gaiman Neverwhere is the story of Richard Mayhew, a young London businessman with a good heart and an ordinary life, which is changed forever when he is plunged through the cracks of reality into a world of shadows and darkness—the Neverwhere. Learn more | See related books
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I bought a used copy of this book and on the cover there is an upper middle class couple having drinks around a dining table in the drained swimming pool in their backyard. At first I didn't think much of it, but after reading the stories, I think it makes so much sense. There is always something slightly off about Cheever's stories, but it's hard to put your finger on what that is. It took me a little while to get into these stories, but after a while I came to love them. By the end of the book, the ending of the story, Another Story, knocked me breathless. The best ending to a short story I've ever read. I have also see how influential Cheever was on contemporary American short story writers, at least Tobias Wolff, Mary Robison and I think Lorrie Moore as well. This is the sort of book you want to savor , a couple stories a day. Cheever is a master of subtly shifting the mood of a piece. Out of the blue you'll suddenly realize you're in a different place from where you started.
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82 of 86 people found the following review helpful
Most of my students scratch their heads and mutter "Who?" when I tell them they will be reading the selected stories of John Cheever. When I tell them that Cheever is a representative of upper crusty, mid-twentieth century, cosmopolitan American cities, the sighs and groans can be heard crosstown. Then they read the stories: "Goodbye, My Brother", "The Swimmer", "The Enormous Radio"... And the discussions are as lively as any instructor could hope for. And their excitement reminds me over and again of the thrill I had reading these stories for the first time. (I'm almost jealous of my students--I miss that first time pleasure.) These are stories perfect in their craftsmanship, memorable in their characters, and decidedly superior to anything of his time, and just about anything since. Pick up this collection and enjoy. Rocco Dormarunno, College of New Rochelle
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31 of 33 people found the following review helpful
This is one of the best short story American books I've read. Cheever narrates these stories about ordinary people in a simplistic and nervous fashion. Cheever subtlety describes his characters as pathetic in a sarcastic way but effectively manages to get his readers to like them. His stories are at times shady, moralistic, and mystical that keeps you practically glued to the pages of the book. My favorites are The Swimmer, and The Enormous Radio. Even though his topics touch on the lives of the so called "Wasps", I don't think you have to be one, but have the knowledge of how people that live in quiet desperation live in order to understand and enjoy Cheever's writings.
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30 of 33 people found the following review helpful
I don't imagine that John Cheever is much read these days by English Lit. types. These brilliant stories of love and loss among the genteel, drunken, and declasse WASP gentry are about as far as it is possible to get from the noisy concerns of the PoMo/multicultural/gender studies/Lit Crit. crowd. Which is only one of the reasons why the truly literate will still be reading Cheever's stories when Foucault, Derrida, De Man, Lacan and the rest of the French sophists are footnotes in future works about curious intellectual fads (yes, yes, I know: De Man was Belgian). You see, art always triumphs over kitsch; it may take an unconscionably long time in some cases, but in the end, art wins. And Cheever was nothing if not an artist, as the many small masterpieces contained in this collection amply demonstrate: "Goodbye, My Brother," "The Lowboy," "The Housebreaker of Shady Hill," "The Swimmer," "The Five-Forty-Eight," "The Cure," "The Sorrows of Gin," and so on, and on. The mood in these stories is predominantly one of melancholy and regret: regret that love, no matter how fierce and strong, will never last a lifetime; regret for the many small acts of cruelty that failed love and dashed dreams will force good men to commit; regret for what might have been, but was not, for what was and need not have been. But the melancholy and regret is tempered with a muted joy, inspired by the understanding that the same spiritual and moral isolation that prevents any man from ever fully connecting with another person also makes him autonomous and free. The obvious comparison is with Chekov; but such comparisons are seldom very helpful, and in this case would only serve to obscure the essential fact that Cheever was one of the finest artists this country has produced. But you don't have take my word for it.Read more ›
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41 of 49 people found the following review helpful
Of all the archetypal New Yorker short story writers of the Twentieth Century- John O'Hara, John Updike, Alice Adams, J.D. Salinger- perhaps the best of them was John Cheever- and he was certainly the best of the three big Johns. That said, I do not particularly like John Cheever's stories. Of the over sixty tales in this collection a good thee quarters involved characters that do not personally interest me- mid-Twentieth Century upper crust whites, martini-totaling who seem as stranded on the island of Manhattan, or his fictive suburb of Shady Hill, physically as their views of the world are intellectually. In his world even middle class people have maids. But, almost all of the tales are tight and well-wrought, and that's an important distinction to note when reviewing, for few critics are able to separate themselves from their biases and inclinations. That said, while the tales are good, and at their best, very good, excellent, and even near-great, there isn't a one that really leapt out as being inarguably great, mostly because they are tales that work on only one or two levels, even when ricjly layered. This is because they follow a formula, the New Yorker formula, and follow it well, but Cheever never achieves an expansion of his character's worlds the way he tinkers incessantly with the interior narrative structures. To use a metaphor, his stories are solidly and well built, but the interior decorating can be atrocious.
His tales almost always start off with a good and/or arresting start, and his ends are also usually quite deft. The middle sometimes sag, in even the best tales, not because of length, but because the tales are so dependent upon their extreme supports....Read more ›
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