Overview

In these journals, the experiences of one of the most renowned twentieth-century American writers come to life with fascinating, wholly revealing detail.John Cheever's journals provide peerless insights into the creation of his novels and stories. But they are equally the record of a complex, often dark, always closely observed inner world. No American writer of comparable stature has left such an unreservedly revealing and moving account of himself: his family life, his literary life, and his emotional life. The...
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The Journals of John Cheever

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Overview

In these journals, the experiences of one of the most renowned twentieth-century American writers come to life with fascinating, wholly revealing detail.John Cheever's journals provide peerless insights into the creation of his novels and stories. But they are equally the record of a complex, often dark, always closely observed inner world. No American writer of comparable stature has left such an unreservedly revealing and moving account of himself: his family life, his literary life, and his emotional life. The final word from one of modern America's great writers, The Journals of John Cheever provides a powerful and beautiful capstone to a towering oeuvre.


From the Trade Paperback edition.

Cheever's journals, begun in the late 1940s, provide insight into his literary creations and reveal much about his complex, often tormented life.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
From the late 1940s until a few days before his death of cancer in 1982, the eminent American short story writer and novelist (The Wapshot Chronicle) recorded daily encounters with family, friends and, most powerfully, with conflicting impulses in himself. Cheever's journal entries, as selected here by his editor and introduced by his older son, Benjamin, reveal a life bracketed by ``galling loneliness'' and rewarding engagement with others; by a highly libidinous nature and comfort found in the conventions of his upper-middle-class, church-going, suburban New York City existence; by shame over his bisexuality and alcoholism and by moments of soaring delight in his family and in the physical world. Occasional references are made to fellow writers, e.g., Saul Bellow, Irwin Shaw and Norman Mailer, whose work evoked both despair and inspiration, and to the genesis of his own stories, but Cheever's attention never moves far from his efforts ``to recognize the power of as well as the force of lust, to write, to love.'' Dated only by year, the entries flow seamlessly through seasons, holidays and family occasions, identifying family members and public figures by name and lovers by initials. Cheever documents the steady and anguished deterioration of his relationship with his wife, Mary, who is his literary executor (``How large a continent this is,'' he observes of his marriage in 1968), his fierce love for and sometimes distance from his three children, his gradual acceptance of his desire for men, his triumph over drinking and, wrenchingly, his final days. Most explicitly, however, he records his attempts to integrate often-warring aspirations and appetites. On a bus in Rome in 1957, the touch of an unseen stranger--``I will never know if it was a man or a woman, a tart or a priest'' -- on his shoulder creates a near-overwhelming wish for tenderness: ``This is not a violet-flavored sigh or a Chopinesque longing; it is a longing as coarse and real as the hair on my belly.'' Cheever's journals will likely prove as lasting a body of work as his fiction.
Library Journal
As explained in the editor's note, the published volume contains selected portions of Cheever's extensive personal journals. Published with the cooperation and assistance of the author's family, it represents 1/20th of the actual journals, which span a 35-year period. The journals served Cheever both as writer's notebook and memoir, clarifying much of his method of working. The inner life of a writer is revealed in these highly introspective memoirs. Cheever writes of his alcoholism and his bisexuality; his ``war with the world''; his loneliness, alienation, depression, and carnal fantasies; his love for his family; his religion (Catholicism); his perception of the role of the writer in society; and his enjoyment of the rural life at his home in the Hudson valley, all with remarkable powers of description. A candid, beautiful, often startling portrait of a 20th-century American writer. -- Lesley Jorbin, Cleveland State University Library
Library Journal
As explained in the editor's note, the published volume contains selected portions of Cheever's extensive personal journals. Published with the cooperation and assistance of the author's family, it represents 1/20th of the actual journals, which span a 35-year period. The journals served Cheever both as writer's notebook and memoir, clarifying much of his method of working. The inner life of a writer is revealed in these highly introspective memoirs. Cheever writes of his alcoholism and his bisexuality; his ``war with the world''; his loneliness, alienation, depression, and carnal fantasies; his love for his family; his religion (Catholicism); his perception of the role of the writer in society; and his enjoyment of the rural life at his home in the Hudson valley, all with remarkable powers of description. A candid, beautiful, often startling portrait of a 20th-century American writer. -- Lesley Jorbin, Cleveland State University Library
New York Times Book Review
Heartrending...Can be read as a writer's notebook, a family chronicle, a brutally honest autobiography, and almost as an unfinished novel...A daring contribution to American letters.
Chicago Tribune
Exquisitely written...told in the same luminous prose that characterized his stories.
New York Times Books of the Century
It lets us see the beast crouching in the bushes of the well-kept houses that fill his stories....[H]e left behind work of great beauty in all his books, including this one.
Kirkus Reviews
Robert Gottlieb, in consultation with the Cheever family, here adds to the six excerpts from Cheever's journals that originally ran in The New Yorker. Drawn from 29 looseleaf notebooks, spanning 35 or so years, this selection represents a mere fraction (1/20th, in Gottlieb's estimate) of Cheever's random writings. Fortunately, readers of these remarkable journals are spared the prose interludes (by Cheever's son, Ben) that so marred the selection from his letters a few years ago. This is Cheever as unadorned and self-revealing as we'll get and it's not just more confessions of alcoholism and bisexuality. As Ben suggests in his introduction, these journals serve in lieu of an autobiography—they document the inner life of an artist in a way few works ever have. Cheever proves himself a man of profound tensions: at once drowning in loneliness and warmed by his love for his family, craven in his sexual desire and elevated by genuine piety. These contradictions run through his aesthetic concerns as well: While he has decided to insinuate himself "like a spy" into middle-class suburbia, he fears having taken his "disguise too seriously." He delights in the mundane, and the journals glimmer with quotidian insight and observation: the beauty of nature, the joys of Westchester life. But these affirmations, many of them religious, must break through the despair, which is pervasive. Cheever agonizes over his familial past, his mother dying, his brother's alcoholism. He frets for his marriage, threatened by his constant lust. And he worries over his work, from the nuts and bolts of writing to its afterlife.

In Rome, he escapes "the alcoholic life of a minor literarycelebrity." In Ossining, he recognizes the progressive nature of his disease. Recovery comes, but so does the cancer that took his life in 1982, with the last entry here written days before his death. More so than his letters, these journals remind us that Cheever has earned his place among the modern masters.

From the Publisher
“A treasure-trove of riches. . . . His particular gifts . . . place the journals among the very best of the form.” —Mary Gordon, The New York Times Book Review“John Cheever is an enchanted realist, and his voice . . . is as rich and distinctive as any of the leading voices of postwar American literature.” —Philip Roth“A provocative introduction to the mind and craft of an important American author.” —The Boston Globe“A stunning itinerary of a lost man intermittently saved by a change of wind or a moment of love... You won't find a more intimate self-portrait of a writer.” —Entertainment Weekly
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Product Details

  • ISBN-13: 9780307790293
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 10/5/2011
  • Series: Vintage International
  • Sold by: Random House
  • Format: eBook
  • Pages: 416
  • Sales rank: 444,555
  • File size: 3 MB

Meet the Author

John Cheever was born in 1912. He is the author of seven collections of stories and five novels. He won the National Book Award for The Wapshot Chronicle, and the National Book Critics Circle Award and the Pulitzer Prize for The Stories of John Cheever. He received the Howells Medal for Fiction and the National Medal for Literature. He died in 1982.


From the Trade Paperback edition.

Biography

John Cheever, best known for his short stories dealing with upper-middle-class suburban life, was born in Quincy, Massachusetts, in 1912. Cheever published his first short story at the age of seventeen. He was the recipient of a 1951 Guggenheim Fellowship and winner of a National Book Award for The Wapshot Chronicle in 1958, the 1979 Pulitzer Prize for Fiction for The Stories of John Cheever, the National Book Critics Circle Award, and an American Book Award. He died in 1982, at the age of seventy.

Author biography courtesy of HarperCollins.

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    1. Date of Birth:
      May 27, 1912
    2. Place of Birth:
      Quincy, Massachusetts
    1. Date of Death:
      June 18, 1982
    2. Place of Death:
      Ossining, New York
    1. Education:
      Thayer Academy

Read an Excerpt

THE LATE FORTIES AND THE FIFTIESIn middle age there is mystery, there is mystification. The most I can make out of this hour is a kind of loneliness. Even the beauty of the visible world seems to crumble, yes even love. I feel that there has been some miscarriage, some wrong turning, but 1 do not know when it took place and I have no hope of finding it.Thinking for a week about Leander, Betsey, and Eben without writing a word, without making any progress. And so I see all my plans—the voyage to Genoa, etc.—collapse. Is there something intrinsically wrong with these three, that I can't grasp them? Thinking this morning to discard the opera.Yesterday was rainy and deeply overcast. At four B. and I walked up Holbrook Road to the K.s', The clearing wind had begun to blow. As the overcast was displaced with brilliance and color, as more and more light poured into the valley, the hour seemed tumultuous and exalting. Backgammon and gin.Skating one afternoon at the Newberry's. The end of a very cold winter day. The ice, contracting in the cold, made a noise like thunder. Walking up the frozen field to the house we could hear it thundering. We went back that night. There was no one else on the pond. The G.s' dog was barking. There was no moon and the ice was black. It seemed, skating out into the center of the pond, that the number of stars I could see was multiplied. They seemed as thickly sown as a rush of snowflakes. As I skated back to the end of the pond, the number seemed to diminish. I was confounded. It could have been the whiskey and the wine. It could have been my utter ignorance of cosmology.To church; the second Sunday in Lent. From the bank president's wife behind me drifted the smell of camphor from her furs, and the stales of her breath, as she sang, "Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end." The Old Testament dealt with should the Father eat bitter grapes; the New with an eye for an eye and a tooth for a tooth. The sermon with the doctrine of Incarnation. The rector has a plain mind. If it has any charms, they are the charms of plainness. Through inheritance and cultivation he has reached an impermeable homeliness. His mind and his face are one. He spoke of the impressive historical documentation of Christ's birth, miracles, and death. The church is meant to evoke rural England. The summoning bells, the late-winter sunlight, the lancet windows, the hand-cut stone. But these are real fragments of a real past. World without end, I murmur, shutting my eyes, Amen. But I seem to stand outside the realm of God's mercy.I would like not to be vindictive or narrow. I would like to avoid phony compassion. Thinking of the midsummer night, "Parlons francais," the drunkard said. I see that this is small. I see in the five-and-ten-cent store yesterday that my descriptions of Betsey's pleasure are small. It stinks of peanuts and cheap candy. A love song drifts over from the phonograph-record department. The salesgirl is elaborately painted. You buy what you want; and you leave. The street is sunny. The blind Negress on the bus says, "I'm by myself. I'm by myself at home now. I'm by myself on the street. I'm by myself. I'm by myself so much I'm like a statue. I'm by myself like a statue all the time." She shakes her portable radio. "She ain't working. I've had her on since Ninety-sixth Street and she ain't made a sound. I guess I'll have to get her fixed again. She wears out quick." The man on the train. "Well, I guess I look cheerful enough, but I'm on my way to the hospital. They just called me from the office to tell me that C. fell out of an apple tree and broke her leg in two places. They called me at the office a few minutes ago and I rushed over here and took the train. . . ."These Westchester Sunday nights. There has usually been a party on Saturday night so you wake up with a faint hangover and a mouth burned by a green cigar. The clothes you have left in a heap on the floor smell of stale perfume. You take a shower. You put on old clothes. You drive your wife to church and your children to Sunday school. You rake the leaves off the flower bed. They are too wet to burn. You put a chemical fertilizer on the lawn and examine the bulbs. The Rockinhams, on their way to a Sunday-lunch party at the Armstrongs', shout their good mornings from the sidewalk. "Isn't it a glorious day; glorious, glorious." Your wife and children return from church, still in their stiff clothes. You have a drink before lunch. Sometimes there are guests. You take a walk; you rake more leaves. The children scatter to play with other children. The southbound local, the train that aunts, uncles, and cousins who have gone into the suburbs for lunch take home; the train that cooks, maids, butlers, and other menservants take into town for their half holiday. Sunday is almost over.Awake before dawn, feeling tired and full of resolutions. Do not drink. Do not et cetera, et cetera. The noise of birdsong swelling: flickers, chickadees, cardinals. Then in the midst of this loud noise I thought I heard a parrot. "Prolly want a crackeer," he said. "Prolly want a crackeer." Woke tired and took the 7:44. The river blanketed with a mist. The voices overheard. "Well, then she boiled it and then she broiled it." He raised his face and drew over it a beatific look as if he were tasting last night's dinner again. "Well, we've got one of those electric rotisseries." "Oh, New York's nothing like Chicago; nothing like it." On Twenty-third Street I read a sign: "DON'T LOSE YOUR LOVED ONE BECAUSE OF UGLY FAT." There was a window full of crucifixes made out of plastic. The surface of the city is paradoxical. For a mind cast in paradox it is reassuring to find this surface. Thinking again, in the dentist's chair, that I am like a prisoner who is trying to escape from jail by the wrong route. For all one knows, that door may stand open, although I continue to dig a tunnel with a teaspoon. Oh, I think, if I could only taste a little success. But don't I approach it by deepening the pit in which I stand? Mary in the morning, asleep, looking like the girl I fell in love with. Her round arms lie outside the covers. Her brown hair is loose. The abiding quality of seriousness and pureness.In the dark hour you cannot call on goods and chattels to save you, or old ski trails or the paths to streams. You must find something greater. And the mind in which the forces of contumely and destruction seem greater than the forces of creativity. Creativity is there, but it seems, in relation to the forces of destruction, like the nipple on a balloon. So, made up of so much destruction and with such a slender knowledge of love he appears poorly as a husband, son, and lover—masked in a rag of a smile and a striped tie and a few faint observations. Oh so deeply rooted in this mind are the needs and the habits of prayer. Having triumphantly separated himself from the foolishness of religion, he goes by the church—he hears the bells in the morning—in the churlish and unhappy frame of mind of a man who has been excommunicated. He feels the lash of expulsion. And oh this poor mind, casting desperately around a room for some detail that will give it form and meaning, seizes always on an ashtray heaped with butts or a crooked stocking, a tear in the rug. And then he sees the sky! the poignant blue, the line of darkness rising like a lid; the perfect clearness of line and color that means that a northwest wind has scoured the overcast and blown it out to sea. So his mind wanders between the ashtray and the twilight while most of the known world lies somewhere in between. He worries, he worries about his mustache, his old navy raincoat, his weight, his hair, his teeth, the stiffness in his left knee, and if his anxiety ever transcends this it is to worry about a nation of paltry men, conceived in his image and likeness—or, if he is a world federalist, to worry about a world. Why has the sweetness gone? It would all come back with a new car or a bonus or a little of the recognition that he deserves for his hard work. A convertible; a trip to Spain.The stubborn dreariness of this rainy Sunday. Down at the station there are only a few travellers for the southbound local. A cook with a paper bag full of leftovers and a hand-me-down coat is going to Yonkers to visit her relations. A maiden aunt out for Sunday lunch is returning. The last is a figure of mystery, a man in a worn polo coat beneath which show the striped pants and boiled shirt of a tuxedo. These are the only passengers and they seem to have come here unwilling to catch a train and make a hopeless journey. In the waiting room and the cabstand, both of them unattended, a telephone rings and rings and rings. Fishnets for shad and bass are strung out into the water, and the rain, like a much finer net, encircles the county with a stir of reassuring and dreary noise. Racks of string hang above the railroad track like the old-fashioned fly nets worn by livery horses. It is a stubborn and an infinite dreariness, rooted in the stupor, the discomfort, or the downright misery of a heavy churchgoer's lunch. The ballgame has been rained out but not the "Emperor" Concerto or the "Jupiter" Symphony. More than half the world is in an unrefreshing sleep.But between the waiting room and the freight house there is a view of water and mountains. The eye goes up for miles and miles, for while the little rain makes the shore dim, nothing is obscured. Here there is more power and space than you had expected. The smudge from a distant tugboat, discouraged and scattered by the little rain, drifts toward the water. There is a mountain as round as a plump knee and a mountain cut like a cock's crest and even a faint smell of the wilderness—dead bloodworms and wet corduroy—for three fishermen are strung along the narrow bank between the railroad tracks and the water. Oh it is so dreary that one's teeth seem literally to ache. The smell of boiled beef lingers in the upstairs hall.As I approach my fortieth birthday without having accomplished any one of the things I intended to accomplish—without ever having achieved the deep creativity that I have worked toward for all this time—I feel that I take a minor, an obscure, a dim position that is not my destiny but that is my fault, as if I had lacked, somewhere along the line, the wit and courage to contain myself competently within the shapes at hand. I think of Leander and all the others. It is not that these are stories of failure; that is not what is frightening. It is that they are dull annals; that they are of no import; that Leander, walking in the garden at dusk in the throes of a violent passion, is of no importance to anyone. It does not matter. It does not matter. . . .In town for lunch. The air-conditioning, the smell of perfume and gin, the attentions of the headwaiter, the real and unreal sense of haste, importance, and freedom that clings to the theatre. It was a beautiful day in town, windy, clear, and fresh. The girls on the street are a joy. A girl with bare arms by the St. Regis; a girl with bare shoulders on Fifty-seventh Street; dark eyes and light eyes and red hair and above all the wonderful sense of dignity and purpose in their clear features. But there is the imperfect joining of the carnal world and the world of courage and other spiritual matters. I seem, after half a lifetime, to have made no progress, unless resignation is progress. There is the erotic hour of waking, which is like birth. There is the light or the rainfall, some ingenuous symbol by which one returns to the visible, perhaps the mature world. There is the euphoria, the sense that life is no more than it appears to be, light and water and trees and pleasant people that can be brought crashing down by a neck, a hand, an obscenity written on a toilet door. There is always, somewhere, this hint of aberrant carnality. The worst of it is that it seems labyrinthine; I come back again and again to the image of a naked prisoner in an unlocked cell, and to tell the truth I don't know how he will escape. Death figures here, the unwillingness to live. Many of these shapes seem like the shapes of death; one approaches them with the same amorousness, the same sense of terrible dread. I say to myself that the body can be washed clean of any indulgence; the only sin is despair, but I speak meaninglessly in my own case. Chasteness is real; the morning adjures one to be chaste. Chasteness is waking. I could not wash the obscenity off myself. But in all this thinking there is a lack of space, of latitude, of light and humor. Thinking back to "The Reasonable Music," it seems to me, for this reason, to be a bad, a febrile, story. Play a little baseball and the Gordian knot crumbles into dust.Is there anything more wonderful than the Monday morning train: the 8:22? The weekend—say a long summer weekend like the Fourth—has left you rested. There have been picnics, fireworks, excursions to the beach—all the pleasant things we do together. On Sunday we had cocktails late and a pickup supper in the garden. We see the darkness end the weekend without any regret—it has all been so pleasant. In the garden we can hear, from the west, the noise of traffic on the parkway rise to a high pitch that it will hold until nearly midnight, as other families drive back to the city from the mountains or the shore; and the sleeping children, the clothing hung in the backseat, the infinity of headlights—the sense we take from these overcrowded Sunday roads of a gigantic evacuation, a gigantic pilgrimage—is all a part of this hour. You water the grass, tell the children a story, take a bath, and get into bed. The morning is brilliant and fresh. Your wife drives you to the train in the convertible. The children and the dog come along. From the minute you wake up you seem to be on the verge of an irrepressible joy. The drive down Alewives Lane to the station seems triumphal, and when you see the station below you and the trees and the few people who have already gathered there, waiting in the morning sun, and when you kiss your wife and your children goodbye and give the dog's ears a scratch and say good morning all around the platform and unfold the Tribune and hear the train, the 8:22, coming down the tracks, it seems to me a wonderful thing.


From the Trade Paperback edition.
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