Status Symbol Land

FEAR—especially the fear of losing control—serves as the impetus for an awful lot of art. It also, of course, serves as the catalyst for an unhealthy dose of insomnia, depression, anxiety, fatigue, and death (either of the silent or walking variety).

Motivated by Alan Noble's "Why Christians Should Read Disturbing, Dark, and Secular Fiction," I thought that since I have read and am now again reading a good bit of it that I'd do well to put some thoughts down on a piece that I've read recently. (This is a bit like pulling the winner out of a hat; I'm working through an anthology of American short stories and there are too many from which to choose. I decided against O'Connor's terrifyingly bizarre "Good Country People" because (1) she's not exactly "secular"; and (2) apparently she's now a Christian-hipster favorite, and I'm like light years ahead of those people.)

So, John Cheever's "The Swimmer" it is (originally published in The New Yorker on 18 July 1964). Summary of the plot:

“The Swimmer” begins with suburbanites gathered around a backyard pool, nursing their respective hangovers from the previous night's cocktail party. The hero of the tale is a youthfully middle-aged, athletic, and affluent denizen of suburbia. His desire to rise above complacently takes the form of an odd, comical quest: He decides to swim home, fifteen pools to the south. The narrative follows his journey from pool to pool, from his initial exhilaration to subsequent exhaustion, from bright and sunny to darker and colder, to unprepared and exposed. After crossing a highway, he descends into a public pool—hell to his social class. But even here he is excluded after failing to provide the proper identification. The journey is further corrupted when he finds his mistress has replaced him with a new lover, and a couple he has previously dismissed socially denies him. Finally, when he is alienated from what he knows to be true, and dispossessed of his comfortable reality, he arrives home to a dark, empty, and locked house.

Truly, I envied the swimmer Neddy Merrill's excursion. It sounded fun. Even in the rain. The absurdity part of it only becomes apparent during the last few dips, and especially when he arrives "home." The fun of swimming across several pools in a couple of neighborhoods looks pathetic indeed when Neddy reaches his now foreclosed destination. And the enthusiasm with which Neddy is greeted at first is subverted by the tale's end: all those drinks and smiles look more like pity than friendship. Status symbols are, we must admit, everything to this crowd (our collective crowd in these United States), and Neddy's loss of them feeds a fear that grips him to the point of extreme denial, acting out the absurd.

How poignant is the climax of the story today? Neddy swims "home" to an abandoned and decrepit structure. How many of those have we seen walking the neighborhood these past few years? Ah, home ownership, a grand American institution. It looks to be only a vestige of its former glory.

Speaking of American social institutions, what about the extramarital affair? Neddy’s inability to cope with his situation caused him to shut down and retreat from reality, ultimately hurting all the people in his life that he ever cared about. The same could be said about any one of the other poor choices he has apparently made (in response to a financial misfortune).

Neddy’s swimming pool journey effectively parallels our false lives, our swimming through life with eyes half closed, choosing not to acknowledge behaviors that are significant and detrimental to those we love the most. Extramarital affairs, alcoholism, gambling, and debt—all these activities gradually eat away at relationships every day. Of course, these are all symptoms of a much deeper problem: "Who can understand the human heart? There is nothing else so deceitful."

The mix of realism and surrealism, concrete rootedness and absurdity, the lack of a single vision holding reality together, the rusty linings of every cloud, are a few of the reasons I so enjoy this era of literature (roughly described as "postwar"). Yet in spite of all the aforementioned disturbing darkness, we still pine after love and understanding, and thus we must face the vertigo of absurdity with practical action—like Candide tending his garden forevermore.

So, then, "have reverence for God, and obey his commands, because this is all that we were created for." Or, put somewhat differently, love thy neighbor as thyself.


Listen to Cheever read "The Swimmer" here.

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The Insatiable Hunger (a brief character sketch)

Benjamin hadn’t done anything extraordinary. In fact, he avoided most opportunities that remotely smacked of doing something that could conceivably produce an extraordinary thing. The young women that considered him cute mistook his silence as strength. Those closer to him thought him simply odd. Those closest to him knew he was just scared.

Fear marked Benjamin’s life. He recoiled from falling leaves. He would turn around and walk the other way to evade almost-chance encounters with folks he neither cared for or didn’t trust, which was just about everybody. Sometimes, in the middle of the night, he’d wake up shaking. Uncontrollably shaking. Too many Xanax became the only remedy. But too many Xanax led to that sneaking suspicion that everything was wrong. Brain shivers. Self-loathing. Unreality.

One late morning, after a night of the shakes, Benjamin went for a drive. He had no destination, but he found himself at the local park. He unexpectedly cried for a few minutes before leaving his car, and then moseyed around, eyeballing the many baseball games underway. He saw a yellow Lab walking a child next to the concession stand and felt nothing. Finally, finding a small hill some distance from the fields, Benjamin sat and half-watched the games as dusk approached. His thoughts eventually centered on his wife, Kate, as they often did. He always wanted more from her, but it would never be enough. He had never learned how to love and thus he’d suck the life out of every lover. Fear has an insatiable appetite, a fact he already knew, but suddenly conceded.

Some time ago, he had read, in Freud’s Civilization and Its Discontents, about the supposed source of religious sentiments:

“The derivation of religious needs from the infant’s helplessness and the longing for the father aroused by it seems to me incontrovertible, especially since the feeling is not simply prolonged from childhood days, but is permanently sustained by fear of the superior power of Fate.”

At the time, Benjamin escaped the incontrovertible opinion of Freud by positing his own unassailable opinion—that the religious-needs vacuum within his heart existed as a result of his being relationally separated from the divine; that, in short, religion being present in most cultures is a result of humankind’s being created imago Dei.

Benjamin knew he could no longer muster up this belief. Fear, he realized, was far more powerful in creating religiosity than a personal Fate.

Night came. The field lights flickered off. Benjamin was jarred to stand up and walk toward his car, and he didn’t know how long he had been sitting there. Since that long morning, it seemed like he was watching his body live and move and breath, like he had no control over where it was heading, like he was merely observing the day’s events through his eyes with someone else at the helm.

He prayed that he would die on the way home. His prayer was not answered.

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