The Stories of John Cheever

The World of Apples

ASA BASCOMB, the old laureate, wandered around his work house or study—he had never been able to settle on a name for a house where one wrote poetry—swatting hornets with a copy of La Stampa and wondering why he had never been given the Nobel Prize. He had received nearly every other sign of renown. In a trunk in the corner there were medals, citations, wreaths, sheaves, ribbons, and badges. The stove that heated his study had been given to him by the Oslo P.E.N. Club, his desk was a gift from the Kiev Writer’s Union, and the study itself had been built by an international association of his admirers. The presidents of both Italy and the United States had wired their congratulations on the day he was presented with the key to the place. Why no Nobel Prize? Swat, swat. The study was a barny, raftered building with a large northern window that looked off to the Abruzzi. He would sooner have had a much smaller place with smaller windows but he had not been consulted. There seemed to be some clash between the altitude of the mountains and the disciplines of verse. At the time of which I’m writing he was eighty-two years old and lived in a villa below the hill town of Monte Carbone, south of Rome.

He had strong, thick white hair that hung in a lock over his forehead. Two or more cowlicks at the crown were usually disorderly and erect. He wet them down with soap for formal receptions, but they were never supine for more than an hour or two and were usually up in the air again by the time champagne was poured. It was very much a part of the impression he left. As one remembers a man for a long nose, a smile, birthmark, or scar, one remembered Bascomb for his unruly cowlicks. He was known vaguely as the Cézanne of poets. There was some linear preciseness to his work that might be thought to resemble Cézanne but the vision that underlies Cézanne’s paintings was not his. This mistaken comparison might have arisen because the title of his most popular work was The World of Apples—poetry in which his admirers found the pungency, diversity, color, and nostalgia of the apples of the northern New England he had not seen for forty years.

Why had he—provincial and famous for his simplicity—chosen to leave Vermont for Italy? Had it been the choice of his beloved Amelia, dead these ten years? She had made many of their decisions. Was he, the son of a farmer, so naïve that he thought living abroad might bring some color to his stern beginnings? Or had it been simply a practical matter, an evasion of the publicity that would, in his own country, have been an annoyance? Admirers found him in Monte Carbone, they came almost daily, but they came in modest numbers. He was photographed once or twice a year for Match or Epoca—usually on his birthday—but he was in general able to lead a quieter life than would have been possible in the United States. Walking down Fifth Avenue on his last visit home he had been stopped by strangers and asked to autograph scraps of paper. On the streets of Rome no one knew or cared who he was and this was as he wanted it.

Monte Carbone was a Saracen town, built on the summit of a loaf-shaped butte of sullen granite. At the top of the town were three pure and voluminous springs whose water fell in pools or conduits down the sides of the mountain. His villa was below the town and he had in his garden many fountains, fed by the springs on the summit. The noise of falling water was loud and unmusical—a clapping or clattering sound. The water was stinging cold, even in midsummer, and he kept his gin, wine, and vermouth in a pool on the terrace. He worked in his study in the mornings, took a siesta after lunch, and then climbed the stairs to the village.

The tufa and pepperoni and the bitter colors of the lichen that takes root in the walls and roofs are no part of the consciousness of an American, even if he has lived for years, as Bascomb had, surrounded by this bitterness. The climb up the stairs winded him. He stopped again and again to catch his breath. Everyone spoke to him. Salve, maestro, salve! When he saw the bricked-up transept of the twelfth-century church he always mumbled the date to himself as if he were explaining the beauties of the place to some companion. The beauties of the place were various and gloomy. He would always be a stranger there, but his strangeness seemed to him to be some metaphor involving time as if, climbing the strange stairs past the strange walls, he climbed through hours, months, years, and decades. In the piazza he had a glass of wine and got his mail. On any day he received more mail than the entire population of the village. There were letters from admirers, propositions to lecture, read, or simply show his face, and he seemed to be on the invitation list of every honorary society in the Western world excepting, of course, that society formed by the past winners of the Nobel Prize. His mail was kept in a sack, and if it was too heavy for him to carry, Antonio, the postina’s son, would walk back with him to the villa. He worked over his mail until five or six. Two or three times a week some pilgrims would find their way to the villa and if he liked their looks he would give them a drink while he autographed their copy of The World of Apples. They almost never brought his other books, although he had published a dozen. Two or three evenings a week he played backgammon with Carbone, the local padrone. They both thought that the other cheated and neither of them would leave the board during a game, even if their bladders were killing them. He slept soundly.

Of the four poets with whom Bascomb was customarily grouped one had shot himself, one had drowned himself, one had hanged himself, and the fourth had died of delirium tremens. Bascomb had known them all, loved most of them, and had nursed two of them when they were ill, but the broad implication that he had, by choosing to write poetry, chosen to destroy himself was something he rebelled against vigorously. He knew the temptations of suicide as he knew the temptations of every other form of sinfulness and he carefully kept out of the villa all firearms, suitable lengths of rope, poisons, and sleeping pills. He had seen in Z—the closest of the four—some inalienable link between his prodigious imagination and his prodigious gifts for self-destruction, but Bascomb in his stubborn, countrified way was determined to break or ignore this link—to overthrow Marsyas and Orpheus. Poetry was a lasting glory and he was determined that the final act of a poet’s life should not—as had been the case with Z—be played out in a dirty room with twenty-three empty gin bottles. Since he could not deny the connection between brilliance and tragedy he seemed determined to bludgeon it.

Bascomb believed, as Cocteau once said, that the writing of poetry was the exploitation of a substratum of memory that was imperfectly understood. His work seemed to be an act of recollection. He did not, as he worked, charge his memory with any practical tasks but it was definitely his memory that was called into play—his memory of sensation, landscapes, faces, and the immense vocabulary of his own language. He could spend a month or longer on a short poem but discipline and industry were not the words to describe his work. He did not seem to choose his words at all but to recall them from the billions of sounds that he had heard since he first understood speech. Depending on his memory, then, as he did, to give his life usefulness he sometimes wondered if his memory were not failing. Talking with friends and admirers he took great pains not to repeat himself. Waking at two or three in the morning to hear the unmusical clatter of his fountains he would grill himself for an hour on names and dates. Who was Lord Cardigan’s adversary at Balaklava? It took a minute for the name of Lord Lucan to struggle up through the murk but it finally appeared. He conjugated the remote past of the verb esse, counted to fifty in Russian, recited poems by Donne, Eliot, Thomas, and Wordsworth, described the events of the Risorgimento beginning with the riots in Milan in 1812 up through the coronation of Vittorio Emanuele, listed the ages of prehistory, the number of kilometers in a mile, the planets of the solar system, and the speed of light. There was a definite retard in the responsiveness of his memory but he remained adequate, he thought. The only impairment was anxiety. He had seen time destroy so much that he wondered if an old man’s memory could have more strength and longevity than an oak; but the pin oak he had planted on the terrace thirty years ago was dying and he could still remember in detail the cut and color of the dress his beloved Amelia had been wearing when they first met. He taxed his memory to find its way through cities. He imagined walking from the railroad station in Indianapolis to the memorial fountain, from the Hotel Europe in Leningrad to the Winter Palace, from the Eden-Roma up through Trastevere to San Pietro in Montori. Frail, doubting his faculties, it was the solitariness of this inquisition that made it a struggle.

His memory seemed to wake him one night or morning, asking him to produce the first name of Lord Byron. He could not. He decided to disassociate himself momentarily from his memory and surprise it in possession of Lord Byron’s name but when he returned, warily, to this receptacle it was still empty. Sidney? Percy? James? He got out of bed—it was cold—put on some shoes and an overcoat and climbed up the stairs through the garden to his study. He seized a copy of Manfred but the author was listed simply as Lord Byron. The same was true of Childe Harold. He finally discovered, in the encyclopedia, that his lordship was named George. He granted himself a partial excuse for this lapse of memory and returned to his warm bed. Like most old men he had begun a furtive glossary of food that seemed to put lead in his pencil. Fresh trout. Black olives. Young lamb roasted with thyme. Wild mushrooms, bear, venison, and rabbit. On the other side of the ledger were all frozen foods, cultivated greens, overcooked pasta, and canned soups.

In the spring, a Scandinavian admirer wrote, asking if he might have the honor of taking Bascomb for a day’s trip among the hill towns. Bascomb, who had no car of his own at the time, was delighted to accept. The Scandinavian was a pleasant young man and they set off happily for Monte Felici. In the fourteenth and fifteenth centuries the springs that supplied the town with water had gone dry and the population had moved halfway down the mountain. All that remained of the abandoned town on the summit were two churches or cathedrals of uncommon splendor. Bascomb loved these. They stood in fields of flowering weeds, their wall paintings still brilliant, their facades decorated with griffins, swans, and lions with the faces and parts of men and women, skewered dragons, winged serpents, and other marvels of metamorphoses. These vast and fanciful houses of God reminded Bascomb of the boundlessness of the human imagination and he felt lighthearted and enthusiastic. From Monte Felici they went on to San Giorgio, where there were some painted tombs and a little Roman theatre. They stopped in a grove below the town to have a picnic. Bascomb went into the woods to relieve himself and stumbled on a couple who were making love. They had not bothered to undress and the only flesh visible was the stranger’s hairy backside. Tanti, scusi, mumbled Bascomb and he retreated to another part of the forest but when he rejoined the Scandinavian he was uneasy. The struggling couple seemed to have dimmed his memories of the cathedrals. When he returned to his villa some nuns from a Roman convent were waiting for him to autograph their copies of The World of Apples. He did this and asked his housekeeper, Maria, to give them some wine. They paid him the usual compliments—he had created a universe that seemed to welcome man; he had divined the voice of moral beauty in a rain wind—but all that he could think of was the stranger’s back. It seemed to have more zeal and meaning than his celebrated search for truth. It seemed to dominate all that he had seen that day—the castles, clouds, cathedrals, mountains, and fields of flowers. When the nuns left he looked up to the mountains to raise his spirits but the mountains looked then like the breasts of women. His mind had become unclean. He seemed to step aside from its recalcitrance and watch the course it took. In the distance he heard a train whistle and what would his wayward mind make of this? The excitements of travel, the prix fixe in the dining car, the sort of wine they served on trains? It all seemed innocent enough until he caught his mind sneaking away from the dining car to the venereal stalls of the Wagon-Lit and thence into gross obscenity. He thought he knew what he needed and he spoke to Maria after dinner. She was always happy to accommodate him, although he always insisted that she take a hath. This, with the dishes, involved some delays but when she left him he definitely felt better but he definitely was not cured.

In the night his dreams were obscene and he woke several times trying to shake off his venereal pall or torpor. Things were no better in the light of morning. Obscenity—gross obscenity—seemed to be the only factor in life that possessed color and cheer. After breakfast he climbed up to his study and sat at his desk. The welcoming universe, the rain wind that sounded through the world of apples had vanished. Filth was his destiny, his best self, and he began with relish a long ballad called The Fart That Saved Athens. He finished the ballad that morning and burned it in the stove that had been given to him by the Oslo P.E.N. The ballad was, or had been until he burned it, an exhaustive and revolting exercise in scatology, and going down the stairs to his terrace he felt genuinely remorseful. He spent the afternoon writing a disgusting confession called The Favorite of Tiberio. Two admirers—a young married couple—came at five to praise him. They had met on a train, each of them carrying a copy of his Apples. They had fallen in love along the lines of the pure and ardent love he described. Thinking of his day’s work, Bascomb hung his head.

On the next day he wrote The Confessions of a Public School Headmaster. He burned the manuscript at noon. As he came sadly down the stairs onto his terrace he found there fourteen students from the University of Rome who, as soon as he appeared, began to chant “The Orchards of Heaven”—the opening sonnet in The World of Apples. He shivered. His eyes filled with tears. He asked Maria to bring them some wine while he autographed their copies. They then lined up to shake his impure hand and returned to a bus in the field that had brought them out from Rome. He glanced at the mountains that had no cheering power—looked up at the meaningless blue sky. Where was the strength of decency? Had it any reality at all? Was the gross bestiality that obsessed him a sovereign truth? The most harrowing aspect of obscenity, he was to discover before the end of the week, was its boorishness. While he tackled his indecent projects with ardor he finished them with boredom and shame. The pornographer’s course seems inflexible and he found himself repeating that tedious body of work that is circulated by the immature and the obsessed. He wrote The Confessions of a Lady’s Maid, The Baseball Player’s Honeymoon, and A Night in the Park. At the end of ten days he was at the bottom of the pornographer’s barrel; he was writing dirty limericks. He wrote sixty of these and burned them. The next morning he took a bus to Rome.

He checked in at the Minerva, where he always stayed, and telephoned a long list of friends, but he knew that to arrive unannounced in a large city is to be friendless, and no one was home. He wandered around the streets and, stepping into a public toilet, found himself face to face with a male whore, displaying his wares. He stared at the man with the naïveté or the retard of someone very old. The man’s face was idiotic—doped, drugged, and ugly—and yet, standing in his unsavory orisons, he seemed to old Bascomb angelic, armed with a flaming sword that might conquer banality and smash the glass of custom. He hurried away. It was getting dark and that hellish eruption of traffic noise that rings off the walls of Rome at dusk was rising to its climax. He wandered into an art gallery on the Via Sistina where the painter or photographer—he was both—seemed to be suffering from the same infection as Bascomb, only in a more acute form. Back in the streets he wondered if there was a universality to this venereal dusk that had settled over his spirit. Had the world, as well as he, lost its way? He passed a concert hall where a program of songs was advertised and thinking that music might cleanse the thoughts of his heart he bought a ticket and went in. The concert was poorly attended. When the accompanist appeared, only a third of the seats were taken. Then the soprano came on, a splendid ash blonde in a crimson dress, and while she sang Die Liebhaber der Briicken old Bascomb began the disgusting and unfortunate habit of imagining that he was disrobing her. Hooks and eyes? he wondered. A zipper? While she sang Die Feldspar and went on to Le Temps des lilas et le temps des roses ne reviendra plus he settled for a zipper and imagined unfastening her dress at the back and lifting it gently off her shoulders. He got her slip over her head while she sang L’Amore Nascondere and undid the hooks and eyes of her brassiere during Les Rêves de Pierrot. His reverie was suspended when she stepped into the wings to gargle but as soon as she returned to the piano he got to work on her garter belt and all that it contained. When she took her bow at the intermission he applauded uproariously but not for her knowledge of music or the gifts of her voice. Then shame, limpid and pitiless as any passion, seemed to encompass him and he left the concert hall for the Minerva but his seizure was not over. He sat at his desk in the hotel and wrote a sonnet to the legendary Pope Joan. Technically it was an improvement over the limericks he had been writing but there was no moral improvement. In the morning he took the bus back to Monte Carbone and received some grateful admirers on his terrace. The next day he climbed to his study, wrote a few limericks, and then took some Petronius and Juvenal from the shelves to see what had been accomplished before him in this field of endeavor.

Here were candid and innocent accounts of sexual merriment. There was nowhere that sense of wickedness he experienced when he burned his work in the stove each afternoon. Was it simply that his world was that much older, its social responsibilities that much more grueling, and that lewdness was the only answer to an increase of anxiety? What was it that he had lost? It seemed then to be a sense of pride, an aureole of lightness and valor, a kind of crown. He seemed to hold the crown up to scrutiny and what did he find? Was it merely some ancient fear of Daddy’s razor strap and Mummy’s scowl, some childish subservience to the bullying world? He well knew his instincts to be rowdy, abundant, and indiscreet and had he allowed the world and all its tongues to impose upon him some structure of transparent values for the convenience of a conservative economy, an established church, and a bellicose army and navy? He seemed to hold the crown, hold it up into the light, it seemed made of light and what it seemed to mean was the genuine and tonic taste of exaltation and grief. The limericks he had just completed were innocent, factual, and merry. They were also obscene, but when had the facts of life become obscene and what were the realities of this virtue he so painfully stripped from himself each morning? They seemed to be the realities of anxiety and love: Amelia standing in the diagonal beam of light, the stormy night his son was born, the day his daughter married. One could disparage them as homely but they were the best he knew of life—anxiety and love—and worlds away from the limerick on his desk that began: “There was a young consul named Caesar / Who had an enormous fissure.” He burned his limerick in the stove and went down the stairs.

The next day was the worst. He simply wrote F - - k again and again covering six or seven sheets of paper. He put this into the stove at noon. At lunch Maria burned her finger, swore lengthily, and then said: “I should visit the sacred angel of Monte Giordano.” “What is the sacred angel?” he asked. “The angel can cleanse the thoughts of a man’s heart,” said Maria. “He is in the old church at Monte Giordano. He is made of olivewood from the Mount of Olives, and was carved by one of the saints himself. If you make a pilgrimage he will cleanse your thoughts.” All Bascomb knew of pilgrimages was that you walked and for some reason carried a seashell. When Maria went up to take a siesta he looked among Amelia’s relics and found a seashell. The angel would expect a present, he guessed, and from the box in his study he chose the gold medal the Soviet government had given him on Lermontov’s Jubilee. He did not wake Maria or leave her a note. This seemed to be a conspicuous piece of senility. He had never before been, as the old often are, mischievously elusive, and he should have told Maria where he was going but he didn’t. He started down through the vineyards to the main road at the bottom of the valley.

As he approached the river a little Fiat drew off the main road and parked among some trees. A man, his wife, and three carefully dressed daughters got out of the car and Bascomb stopped to watch them when he saw that the man carried a shotgun. What was he going to do? Commit murder? Suicide? Was Bascomb about to see some human sacrifice? He sat down, concealed by the deep grass, and watched. The mother and the three girls were very excited. The father seemed to be enjoying complete sovereignty. They spoke a dialect and Bascomb understood almost nothing they said. The man took the shotgun from its case and put a single shell in the chamber. Then he arranged his wife and three daughters in a line and put their hands over their ears. They were squealing. When this was all arranged he stood with his back to them, aimed his gun at the sky, and fired. The three children applauded and exclaimed over the loudness of the noise and the bravery of their dear father. The father returned the gun to its case, they all got back into the Fiat and drove, Bascomb supposed, back to their apartment in Rome.

Bascomb stretched out in the grass and fell asleep. He dreamed that he was back in his own country. What he saw was an old Ford truck with four flat tires, standing in a field of buttercups. A child wearing a paper crown and a bath towel for a mantle hurried around the corner of a white house. An old man took a bone from a paper bag and handed it to a stray dog. Autumn leaves smoldered in a bathtub with lion’s feet. Thunder woke him, distant, shaped, he thought, like a gourd. He got down to the main road, where he was joined by a dog. The dog was trembling and he wondered if it was sick, rabid, dangerous, and then he saw that the dog was afraid of thunder. Each peal put the beast into a paroxysm of trembling and Bascomb stroked his head. He had never known an animal to be afraid of nature. Then the wind picked up the branches of the trees and he lifted his old nose to smell the rain, minutes before it fell. It was the smell of damp country churches, the spare rooms of old houses, earth closets, bathing suits put out to dry—so keen an odor of joy that he sniffed noisily. He did not, in spite of these transports, lose sight of his practical need for shelter. Beside the road was a little hut for bus travelers and he and the frightened dog stepped into this. The walls were covered with that sort of uncleanliness from which he hoped to flee and he stepped out again. Up the road was a farmhouse—one of those schizophrenic improvisations one sees so often in Italy. It seemed to have been bombed, spatch-cocked, and put together, not at random but as a deliberate assault on logic. On one side there was a wooden lean-to where an old man sat. Bascomb asked him for the kindness of his shelter and the old man invited him in.

The old man seemed to be about Bascomb’s age but he seemed to Bascomb enviably untroubled. His smile was gentle and his face was clear. He had obviously never been harried by the wish to write a dirty limerick. He would never be forced to make a pilgrimage with a seashell in his pocket. He held a book in his lap—a stamp album—and the lean-to was filled with potted plants. He did not ask his soul to clap hands and sing, and yet he seemed to have reached an organic peace of mind that Bascomb coveted. Should Bascomb have collected stamps and potted plants? Anyhow it was too late. Then the rain came, thunder shook the earth, the dog whined and trembled, and Bascomb caressed him. The storm passed in a few minutes and Bascomb thanked his host and started up the road.

He had a nice stride for someone so old and he walked, like all the rest of us, in some memory of prowess—love or football, Amelia, or a good dropkick—but after a mile or two he realized that he would not reach Monte Giordano until long after dark and when a car stopped and offered him a ride to the village he accepted it, hoping that this would not put a crimp in his cure It was still light when he reached Monte Giordano. The village was about the same size as his own, with the same tufa walls and bitter lichen. The old church stood in the center of the square but the door was locked. He asked for the priest and found him in a vineyard, burning prunings. He explained that he wanted to make an offering to the sainted angel and showed the priest his golden medal. The priest wanted to know if it was true gold and Bascomb then regretted his choice. Why hadn’t he chosen the medal given him by the French government or the medal from Oxford? The Russians had not hallmarked the gold and he had no way of proving its worth. Then the priest noticed that the citation was written in the Russian alphabet. Not only was it false gold; it was Communist gold and not a fitting present for the sacred angel. At that moment the clouds parted and a single ray of light came into the vineyard, lighting the medal. It was a sign. The priest drew a cross in the air and they started back to the church.

It was an old, small, poor country church. The angel was in a chapel on the left, which the priest lighted. The image, buried in jewelry, stood in an iron cage with a padlocked door. The priest opened this and Bascomb placed his Lermontov medal at the angel’s feet. Then he got to his knees and said loudly: “God bless Walt Whitman. God Bless Hart Crane. God bless Dylan Thomas. God bless William Faulkner, Scott Fitzgerald, and especially Ernest Hemingway.” The priest locked up the sacred relic and they left the church together. There was a café on the square where he got some supper and rented a bed. This was a strange engine of brass with brass angels at the four corners, but they seemed to possess some brassy blessedness since he dreamed of peace and woke in the middle of the night finding in himself that radiance he had known when he was younger. Something seemed to shine in his mind and limbs and lights and vitals and he fell asleep again and slept until morning.

ON THE NEXT DAY, walking down from Monte Giordano to the main road, he heard the trumpeting of a waterfall. He went into the woods to find this. It was a natural fall, a shelf of rock and a curtain of green water, and it reminded him of a fall at the edge of the farm in Vermont where he had been raised. He had gone there one Sunday afternoon when he was a boy and sat on a hill above the pool. While he was there he saw an old man, with hair as thick and white as his was now, come through the woods. He had watched the old man unlace his shoes and undress himself with the haste of a lover. First he had wet his hands and arms and shoulders and then he had stepped into the torrent, bellowing with joy. He had then dried himself with his underpants, dressed, and gone back into the woods and it was not until he disappeared that Bascomb had realized that the old man was his father.

Now he did what his father had done—unlaced his shoes, tore at the buttons of his shirt, and knowing that a mossy stone or the force of the water could be the end of him he stepped naked into the torrent, bellowing like his father. He could stand the cold for only a minute but when he stepped away from the water he seemed at last to be himself. He went on down to the main road, where he was picked up by some mounted police, since Maria had sounded the alarm and the whole province was looking for the maestro. His return to Monte Carbone was triumphant and in the morning he began a long poem on the inalienable dignity of light and air that, while it would not get him the Nobel Prize, would grace the last months of his life.