Word: cheevers
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Under the Bed. Take three fixed points: Philip Roth. John Cheever, Peter De Vries. Rogin is somewhere in the triangle they describe, nearer to Cheever than the others. Rogin shares Cheever's awareness of risk, his sense that to turn a corner of the banal may be to find oneself in a howling waste of strangeness...
...pity the poor crowd, for the Cornell band is unique in Ivydom. There must be a psychological term for the escapism of the Big Red Symphonic Marching Band Ensemble and Dance Troupe. Perhaps it's the minever Cheever complex. The Big Red band not only plays in tune (unusual for Ivy halftime shows), it dances, high-steps, goose steps, pirrouettes, clicks it heels together, and throws its chest out and its stomach in while forming a waving American flag in a salute to Irving Berlin. Poor Cornell bandies. Big Ten rejects. They are the Bob Blackman...
...about drovers and sundowners, poems to the shearers and squatters, the track and the outback. Today the setting of Australian writing is city and suburb. Patrick White, the country's leading novelist, achieved fame with Voss, his novel about an explorer; today, in a style reminiscent of John Cheever and John Updike, he dissects the fictional suburb of Sarsaparilla, probably modeled after Sydney's leafy Castle Hill area. Barry Humphries, Australia's foremost humorist, savagely satirizes what he calls "the pseuds"-the self-consciously trendy Australians caught up in an age of television, jet charters and public...
...postwar fiction like Sloan Wilson's The Man in the Gray Flannel Suit and John Marquand's Point of No Return: it was caricatured by such writers as Max Shulman (Rally Round the Flag, Boys!) and Peter De Vries (The Mackerel Plaza), elaborated more darkly in John Cheever's Bullet Park. The stereotype was neither wholly wrong nor wholly accurate. But those who have taken the trouble to look carefully have recognized that suburbia has been steadily changing. Today the demographic realities are radically different from the cliché, a change that is clearly documented...
Loving. Set in John Cheever country-the wealthy suburbia of Fairfield County, Connecticut-this American film presents the dilemma of a financially insecure commercial artist unable to come to terms with either his wife or his mistress. Irvin Kershner, who directed from a screenplay by Don Devlin, has a terrific fell for the sterility of his settings and the dogged humanity of his characters. Even when being funny, the movie is underlined by that dim light we associate with the pain of three o'clock in the morning. The picture also has a brilliant climax involving closed-circuit television...