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John William Cheever (May 27, 1912 – June 18, 1982) was an American short story writer and novelist. He is sometimes called "the Chekhov of the suburbs". [1] [2] His fiction is mostly set in the Upper East Side of Manhattan; the Westchester suburbs; old New England villages based on various South Shore towns around Quincy, Massachusetts, where he was born; and Italy, especially Rome.
In 2004, Caedmon released a recorded compilation of selected stories from The Stories of John Cheever, each read either by Cheever, George Plimpton, or a professional actor. [2] Benjamin Cheever reads the introduction written by his father, and the full track list of stories is as follows: "
The Five-Forty-Eight is a short story written by John Cheever that was originally published in the April 10, 1954, issue of The New Yorker [1] [2] and later collected in The Housebreaker of Shady Hill and Other Stories (1958) and The Stories of John Cheever (1978).
The Wapshot Chronicle is the debut novel by American author John Cheever about an eccentric family that lives in a Massachusetts fishing village. Published in 1957, it won the U.S. National Book Award for Fiction in 1958, [2] and was followed by a sequel, The Wapshot Scandal, published in 1964.
"The Swimmer" is a short story by American author John Cheever. It was originally published in The New Yorker on July 18, 1964, and later in the short-fiction collections The Brigadier and the Golf Widow (1964) and The Stories of John Cheever (1978). [1]
"The Country Husband" is a short story by John Cheever which first appeared in The New Yorker on November 20, 1954. The work was included in the collection of Cheever's short fiction The Housebreaker of Shady Hill and Other Stories (1958) published by Harper and Brothers. [1]
"Torch Song" is a short story by John Cheever which first appeared in The New Yorker on October 4, 1947. The work was included in the short fiction collection The Enormous Radio and Other Stories (1953), published by Funk and Wagnalls.
"The Enormous Radio" represents a significant advance in Cheever's "style, fictive voice, and tone." [5] Biographer Patrick Meanor writes: "The Enormous Radio" and "Torch Song", much longer, more psychologically sophisticated stories, eventually came to be to be considered two of Cheever's greatest and most popular works, not only for his new, highly developed lyrical style and brilliant ...