This document provides a psychoanalytic interpretation of John Cheever's short story "The Swimmer" through a Freudian lens. It analyzes the protagonist Ned Merrill and argues that his swimming journey across the county represents his growing cognitive dissonance and attempt to deny aging through repressing fears and indulging in self-destructive habits. Various symbols in the story are examined, and it is concluded that the narrative can be seen as a representation of rejecting maturity and the consequences of denial within Cheever's social class. Comparisons are also drawn between Ned Merrill and the protagonist Odysseus from Homer's Odyssey to further illustrate differences between their heroic journeys.

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Ryan Shayne, Lehlohonolo Shale
SHYRYA002
University of Cape Town
8 March 2018
A Freudian Glance into The Swimmer’s Psyche
Ryan Shayne, Lehlohonolo Shale

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Contents
I. Abstract 3
II. Introduction: A Freudian Glance into The Swimmer’s Psyche 4
III. Ned Merrill and Repression : Condensation and Displacement 5
IV. The Deconstruction of Symbolism and Narrative Voice. 7
V. Characterisation & Subject Matter through Comparative Allusion 9
VI. Conclusion: What it all Means 11
VII. Works Cited 12

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I: Abstract
Several attempts have been made to dissect the stylistic and thematic elements of John Cheever’s
“The Swimmer,” with the results displaying no convicted consensus. The following interpretation
aims to supervene such ambiguity and thereby conceive a decisive, yet layered connection of the
divergent interpretations of the narrative. This has been reified by reviewing the work, namely its
protagonist, through a psychoanalytic lens. For a thorough deconstruction of Cheever’s subject
matter, as well as an equitable analysis of the discourse it presents, both the usage of symbolism and
comparative allusion were independently examined and further reviewed through the Freudian
scope of repressive theory. Through this study, it has been evidenced that the narrative can be seen
as a microcosmic representation of the returning psychological repression prevalent in Cheever’s
social echelon, and thereby it also offers a critical societal commentary on the human condition.

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II: A Freudian Glance into The Swimmer’s Psyche
“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier
ways.”
― Sigmund Freud
Cheever’s “The Swimmer” is one of the most critical social commentaries of its era. It brims with
widely varying interpretations; the hallmark of any great narrative. (Bowers, 17) The conviction
with which this statement is made can be deconstructed with the ancillary of Freud’s psychological
theory of repression and how its inevitable reemergence creates cognitive dissonance. This will be
deconstructed under two principal touchstones. Foremost: through an understanding of the symbolic
intricacy by which differing interpretations of the narrative are manifested, and how the short story,
perforce, becomes a microcosmic portrayal of Cheever’s echelon. The second auxiliary of this
social commentary is Cheever’s compositional control of allusivity; how this frames his critique of
American suburban culture. Through this, Cheever’s mock-epic exemplifies the fact that ‘allusion is
not merely a device, like irony, but an essential modality of the language of literature.’ (Alter, 111)
Thus, this essay will propose a framework through which it will analyse Ned’s narrative, providing
a section each to Cheever’s illustration of the Freudian theory of repression, Cheever’s
manipulation of allusion, as well as his control of symbolism. Hence, it shall be shown that Ned’s
pilgrimage home across the county represents his growing cognitive dissonance; chiefly how his
attempt to escape the eventuality of ageing is a product of repression, leading to hedonistic social
pursuits which are self-destructive, and ultimately, a disillusionment at not being able to mitigate
the ramifications thereof. This essay will, thus, conclude “The Swimmer” is a representation of the
anti-bildungsroman , with Ned as an archetype of the midlife American nouveau-riche society, and
1
his journey in representation of the self-destructive habits that come with the denial of maturity.
A structural transformation with a protagonist who does not attain maturity and an open-ended plot who
1
depicts disillusion and failed socialisation. For more information, see: Fioroni, D.F. "An «Anti-
Bildungsroman»: «Le Grand Meaulnes» By Alain- Fournier". Vol 36, 2016, pp. 115-122.

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III: Ned Merrill and Repression: Condensation and Displacement
The interpretations of “The Swimmer” are irreducibly plural, with many critics dubbing Ned
Merrill’s pilgrimage a self-reflexive interrogation of Cheever’s battle with alcoholism. (Bell, 14)
Some even claim it is a subconscious reincarnation of Juan Ponce de León’s search for the
apocryphal fountain of youth. (Blythe, 557) Such theories have left blank spaces where one would
expect critical insight on the narrative in question. (Blythe, 558) It is only once the protagonist is
considered through a psychoanalytic lens, that such biographical and intertextual hypotheses can be
effectively drawn. (Blythe and Sweet, 557)
Several littérateurs champion psychoanalytic criticism as a prerequisite to the analysis of any
character. (Abrams, 247) This is not to say that they are correct, but to note that there is a significant
correlation between the mental and emotional traits of the author of a historical fiction and the
protagonist thereof. (Abrams, 248) Thus, as a syllogistic induction, Ned Merrill, who had ‘an
inexplicable contempt for men who didn't hurl themselves into pools,’ can be perceived as largely
representative of the status quo in Cheever’s societal stratum and epoch. (Cheever, 2)
Freud argued that, by merely entering into a civilised community, one will inevitably encumber the
repression of base and primitive desires, and if the emotions that surface from such are not
adequately managed, the individual risks becoming liable of condensation, displacement, or both.
(Felluga, 3) Condensation pertains to the amalgamation of various thoughts into a sole element of a
dream or fixation. Hence, Ned Merrill, unable to cope with the fact that he does not resemble a
fresh midsummer day, but instead ‘the last hours of one,’ (Cheever, 776) allows his subconscious to
fixate on simple activities such as ‘the domestication of swimming,’ instead of facing his reality.
(Cheever, 777) This extends to self-destructive excessive drinking at ‘uproarious
reunions.’ (Cheever, 778)
This is because Ned has associated these, throughout his mission home, with the retention of youth,
mischaracterising them as causative supplicants of juvenescence, when they are really just
correlative. Ned’s spontaneous decision to undertake the journey is, therefore, actually a
premeditated attempt to salvage ‘the vague and modest idea of himself as a legendary
figure.’ (Cheever, 777) Cheever’s diction here, employing terms such as ‘legendary,’ illustrate how

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Ned’s ageing affects his societal character; he is not merely swimming for himself, but for the
applause of his neighbours. (Cheever, 777)
Displacement, however, pertains to how the emotions associated with threatening impulses become
transferred elsewhere, causing superfluous stress and fixation on something inherently different
from the real issue. (Felluga, 3) This could be another catalyst for Ned’s repressive proclivities:
chiefly because ‘his life was not confining,’ something as restrictive as the approach of death seems
a significant threat. (Cheever, 776) This leaves Ned convinced that the progression of age
guarantees the loss of happiness, and, ‘believing as he did, that all human obduracy was susceptible
to common sense, he was unable to turn back,’ from his ignorant quest. (Cheever, 781)
Therefore, Merrill’s sybaritic and hedonistic habits can be viewed as the products of subconscious
condensation: the amalgamation of various thoughts into a sole element of a dream or fixation.
(Felluga, 3) Here, Ned’s desire to retain his ‘especial tenderness of youth,’ implies he must avoid
ageing and, such being impossible, he turns to self-destructive habits like binge-drinking, neglecting
the very real responsibilities that come with his age such as supporting a family. (Cheever, 776) Due
to this condensation, his idea of youth is associated with swimming, as nosediving into pools
becomes ‘the resumption of a natural condition,’ because it seems a sufficient distraction. (Cheever,
777)

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IV: The Deconstruction of Symbolism and Narrative Voice
Moreover, in “The Swimmer,” John Cheever makes extensive use of symbolism to further
deconstruct Ned’s narrative. Ned is absorbed by ‘a world so generously supplied with
water.’ (Cheever, 777) Here, water symbolises the myriad distractions such as drinking and partying
in which Ned immerses himself. The waters in which Ned is so eager to swim, therefore,
incrementally distance him from the responsibilities of his reality. The critique targets the
exclusivity of upper middle-class society, evidenced by how the gatherings consist of similar
crowds. (Cheever, 776) These habits are microcosmic of the greater societal rejection of taking
accountability for one’s actions, noting how everyone in the neighbourhood seems inclined to them.
This moulds the narrative into an insight of the consequences of Peter Pan Syndrome , and how
2
such an issue is increasingly evident in the world. (Blythe, 557) Ned’s throat becomes sore from the
water, and though it may be seen as admirable that he perseveres through this, he eventually
‘staggers with fatigue,’ unwilling to prevent his further mental descent. (Cheever, 787)
Furthermore, a corollary interpretation that stems from this is that the work is a critical moral
commentary, as Ned awakens to a midsummer dawn on which everyone ‘drank too much last
night.’ (Cheever, 776) This seemingly lighthearted statement, familiar to Ned on a typically fruitless
Sunday, epitomises how nouveau-riche societies at large waste their adulthood by overindulging at
‘uproarious reunions.’ (Cheever, 778) The phrase can be heard ‘from the lips of the priest
himself.’ (Cheever, 776) This religious imagery symbolises how even the morally erect, those which
religious administration typically connote, succumb to these societal expectations. This moral
question is furthered by Ned’s kissing of more than eight women, as well as his failed attempt to
confide in a former lover, reflective of the modern man’s embrace of promiscuity, and how this
perpetuates a repudiation of monogamy. (Cheever, 779)
Another interpretation is that the transpiring day is an extended metaphor for Ned’s ageing. As the
narrative progresses, the day literally darkens and by the end, Ned is in autumn, abandoned by the
partygoers, which represents his inability to sustain the debauchery of his youth, as well as by his
family, echoing how, by never accepting his ageing, he had neglected what was truly important to
Peter Pan Syndrome is a pop psychology syndrome whereby an adult does not want (and therefore refuses)
2
to take responsibilities and mature. See: Kirby, Stephanie. "Peter Pan Syndrome: The Science Behind It,
What It Is & How To Treat It | Betterhelp". Betterhelp.Com, 2018.

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him. Hence, by manipulating seasonal change, with obvious Gaian connotations, Cheever
effectually illustrates how ageing is a process that not even nature can delay. (Blythe, 557) In Ned’s
attempt to defy nature, he is eventually seen by everyone as the person he resented at the beginning:
someone afraid of jumping into pools, noting ‘he did not dive but went down the steps into the icy
water.’ (Cheever, 787) Cheever parallels Ned’s ageing to the dying of summer, implying the
beginning of a ‘peculiar sadness at the sign of autumn.’ (Cheever, 780) This metaphor connotes a
need to adjust to a new lifestyle, noting he finds ‘the pool furniture folded,’ which develops irony as
his goal was to swim and socialise daylong, but everyone else seems ready for the end of summer, a
metaphor for their riotous youth, and the beginning of autumn; the start of their senility. (Cheever,
781) Thus, the day comes to symbolise his waning midlife.
Further to this, it is evident that the level of cordiality of the social interactions, progressively
embittering, symbolises his gradual deterioration of contentment. Moreover, through the swimming
and the high-profile social occasions, he only perpetuates his denial of ageing. This is evident as the
tone shifts from the conviviality of ‘cheer, glad tidings,’ to disillusionment. (Cheever, 780) Such is
clear when, nearing the end of Ned’s journey, there is a sharp dictational contrast to the frivolity he
felt before, noting he begins feeling ‘miserable, cold, tired, and bewildered.’ (Cheever, 787) The
metaphor of the swimming representing his denial develops as the narrator notes water effectuates
only ‘the illusion of brilliance.’ (Cheever, 786) This creates dramatic irony as even the readers
become privy to Ned’s cognitive dissonance; only he is unaware ‘he had damaged his sense of the
truth.’ (Cheever, 781) It is through Cheever’s manipulation of dialogue that Ned is rejected, by the
former lover: ‘if you’ve come here for money…I won’t give you another cent.’ (Cheever, 787) This
juxtaposes how ‘she had wept when he broke it off,’ (Cheever, 786) characterising Ned, once
desirable, but now second-rate. The diction of ‘another,’ indicates that his mendicity is recurrent.
(Cheever, 787)
Ultimately, Ned is rejected by his family, noting he returns home to find ‘the place was
empty.’ (Cheever, 788) In this way, Ned’s narrative embodies the ramifications of repression. The
more he represses his fear of ageing, the greater his cognitive dissonance grows, culminating in the
loss of his family, house, and social esteem: all the things he genuinely valued, but neglected
because of his denial. He completes his pilgrimage, but is left ‘so stupefied with exhaustion that his
triumph seemed vague.’ (Cheever, 788) Therefore, the narrative can be understood as an anti-
bildungsroman; a critical social commentary which focuses on the demise in virtue of one Ned
Merrill, who embodies the upper-middle class society in which Cheever found himself.

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V: Characterisation and Subject Matter through Comparative Allusion
Through subtle nuances in the characterisation of Ned Merrill, as well as through the structural
progression of narrative voice, Cheever interrelates this social commentary of his era to historical
literature, by aligning with many classical epics; most notably, Homer’s The Odyssey. (Bowers, 19)
As Odysseus ventures in the Trojan War in his pursuit of kleos , Ned appears to be seeking a similar
3
sense of accomplishment and societal recognition, noting he also aspires ‘to make a contribution to
modern geography,’ through his swim. (Cheever, 777) Such an achievement would make him the
‘legendary figure,’ he so longs to be. (Cheever, 777) As Odysseus arrives bare on the Phaeacian isle,
he has to use his cunning to seduce Nausicaa. (Bowers, 19) Likewise, Ned understands, upon
entering Bullet Park, ‘that the hospitable customs and traditions of the natives would have to be
handled with diplomacy if he was ever to reach his final destination.’ (Cheever, 779)
However, by aligning the circumstances of this pair, Cheever suggests not a similarity between his
protagonist and Homer’s, but rather highlights their differences. This is evident through his
characterisation of Ned as a ‘slender man.’ (Cheever, 776) His most admirable quality seems to be
the fact that he always dove into pools and ‘never used the ladder.’ (Cheever, 777) The fact that
such a minor action is lionised as though as equally virtuous as Odysseus’ sagacity evidences that
we are following a pseudo-heroic narrative. (Bowers, 20) Where Odysseus’ mission challenges him
to travel through unknown territories, fighting cyclopses and nymphs, Ned’s journey is within the
confines of the county in which his suburb is situated, and the most pernicious beast he faces is an
angry former lover. (Bowers, 20) The scale of their conquests differ dramatically; this contrasts the
quixotic vision Ned has of himself with the realistic views of everyone around him.
Furthermore, Cheever creates stylistic allusions and uses them to further contrast Merrill’s character
from that of Odysseus. Where Odysseus’ trek across tempestuous seas requires twenty four chapters
to narrate, Merrill’s swim through the already-explored pools of his neighbours needs merely ten.
(Bowers, 20) This is a structural form of satire. By drawing these distinctions between protagonists,
Cheever comments on Ned’s psyche, characterising him by quaint actions, yet gargantuan self-
importance; the polarity of a Homeric hero. Noting Ned, as previously underscored, is microcosmic
Kleos pertains to the glory or otherwise fame a hero may receive after death when he or she is remembered
3
and eulogised. See: "Kleos". Harvard University, 2019, http://sites.fas.harvard.edu/~lac14/glossary/kleos/
index.ghtml.

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for the societies of Cheever’s era, it is evident that the short story reflects on the shortcomings of
modernity, and is an critical portrayal of the self-destructiveness tendencies of the nouveau-riche
cultures in suburban America, that were unheard of in the Homeric world. Hence, “The Swimmer”
can be perceived as an anti-bildungsroman that ties psychologically to Cheever, refractorily to the
escapism invoked by midlife stagnation, and retrospectively to American discourse at large.

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VI: Conclusion: What it all Means
Ultimately, it is evident that “The Swimmer” exemplifies the Freudian theory of repression through
the characterisation of Ned Merrill, Cheever’s control of symbolism, and his manipulation of
allusion. Through this lens it is clear that Ned’s pilgrimage represents his propounding cognitive
dissonance; chiefly that his attempt to escape the eventuality of ageing is a product of his intrinsic
repression, which leads to hedonistic social pursuits which are self-destructive, and ultimately, a
disillusionment at not being able to mitigate the ramifications thereof. Cheever’s seminal work digs
its roots deeper than the individual mind; it is a critical social commentary on the human condition.
This essay, thus, concludes that “The Swimmer” is a representation of the anti-bildungsroman, with
Ned as an archetype of the midlife American nouveau-riche society, and his journey: a
representation of the self-destructive habits that come with the denial of maturity.

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VII: Works Cited
• Abrams, M. H., and Geoffrey Galt Harpham. A Glossary Of Literary Terms. Cengage Learning,
2015.
• Bell, Loren. ""The Swimmer": A Midsummer's Nightmare". Studies In Short Fiction, vol 24, no.
4, 1987, p. 433. Proquest, https://search.proquest.com/openview/
44d8082082ad3eb522470cf3eaff7ff3/1?pq-origsite=gscholar&cbl=1820858. Accessed 25 Feb
2019.
• Blythe, Hal, and Charlie Sweet. "An Historical Allusion In John Cheever's "The Swimmer"".
Studies In Short Fiction, vol 26, no. 4, 1989, p. 557. Proquest, https://search.proquest.com/
openview/349b668d1fc2f8352d249e326be11ce2/1?pq-origsite=gscholar&cbl=1820858. Accessed
25 Feb 2019.
• Bowers, Terence. "John Cheever's Mock-Epic: ‘The Swimmer," The ‘Odyssey’, And America's
Pursuit Of Happiness.". CEA Critic, vol 70, no. 1, 2007, pp. 17-34., http://www.jstor.org/stable/
44378348. Accessed 25 Feb 2019.
• Cheever, John. The Stories Of John Cheever. Vintage, 2010, pp. 776-788.
• Felluga, Dino. "Modules On Freud: On Repression."". Www.Purdue.Edu, 2011, http://
www.purdue.edu/guidetotheory/psychoanalysis/freud3.html. Accessed 25 Feb 2019.
• Fioroni, D.F. "An «Anti-Bildungsroman»: «Le Grand Meaulnes» By Alain- Fournier". Vol 36,
2016, pp. 115-122. Researchgate, doi:10.1404/82704. Accessed 25 Feb 2019.
• Kirby, Stephanie. "Peter Pan Syndrome: The Science Behind It, What It Is & How To Treat It |
Betterhelp". Betterhelp.Com, 2018, https://www.betterhelp.com/advice/therapy/peter-pan-
syndrome-the-science-behind-it-what-it-is-how-to-treat-it/.
• "Kleos". Harvard University, 2019, http://sites.fas.harvard.edu/~lac14/glossary/kleos/index.ghtml.
Accessed 25 Feb 2019.

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• Oring, Elliott. "Victor Turner, Sigmund Freud, And The Return Of The Repressed". Ethos, vol 21,
no. 3, 1993, pp. 273-294. Wiley, doi:10.1525/eth.1993.21.3.02a00020.

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SHYRYA002 Ryan Shayne
Preparatory Tasks:
1) What is the story about? Introduce the story. Describe the story. Summarize what happens
in it. Situate the story: describe the world it emerges from, and the world it evokes. Do this in
your own words and your own ‘voice’. Don’t simply plagiarize from Wikipedia, Spark Notes
or other online sources. Summarizing well is an artform. (200 words exactly)
In “The Swimmer”, John Cheever explores how ageing, indulgence, and societal conformation
plant the human heart in conflict with itself.
Through the expanse of a day, we follow Ned Merrill on his impromptu pilgrimage through the
swimming pools of a nouveau-riche neighbourhood.
The endeavour is punctuated predominantly by Toadyish social gatherings to which Ned seems
well-accustomed, and in which he drinks excessively, kissing women who are not his wife and
‘shaking the hands,’ (Cheever 778) of men he does not genuinely like.
However, as the day deteriorates, so does this attempt to salvage what years remain of his youthful
‘idea of himself as a legendary figure.’ (Cheever, 777) His vision progressively darkens and as the
midsummer day fades, he feels ‘a peculiar sadness at this sign of autumn.’ (Cheever, 780)
Eventually, he cannot ‘understand the rudeness of the caterer’s barkeep,’ (Cheever, 787) who
refuses to serve him, as his hosts start shunning him.
He accosts a former lover who ‘excited in him no profound memories,’ (Cheever, 786) and
overhears rumours of his monetary and familial dilemmas.
Upon returning home, he discovers ‘that the place was empty,’ (Cheever, 788) as even his family
had forsaken him.
(200 Words)

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2) What is the story really about? Now consider (two or three) different interpretations of the
story. Here you should move beyond the events of the plot to the work of interpretation and
analysis. What possible meanings can be given to the work? What is really at stake in the
story? Consider the symbolic and figurative dimensions of the text – how it might expand
beyond its ‘literal’ components into larger meanings. (400 words exactly)
In The Swimmer, what ostensibly appears to be Ned Merrill’s spontaneous decision to venture home
across the swimming pools of his neighbours, is representative of significantly deeper personal and
societal issues. Obsessed with recapturing his youth, the ‘vague and modest idea of himself as a
legendary figure,’ (Cheever, 777) Ned is absorbed by ‘a world so generously supplied with
water.’ (Cheever, 778)
The water symbolises the myriad distractions such as drinking and partying in which Ned, a
microcosm for upper middle-class society, immerses himself. The waters in which he is so eager to
swim, therefore, incrementally distance him from the responsibilities of his reality. This moulds the
narrative into an insight of the consequences of Peter Pan Syndrome, and how such an issue is
increasingly evident in the world. His throat becomes sore from the water. He staggers with fatigue,
unwilling to stop this.
An interpretation that stems from this is that the work is a critical moral commentary, as Ned
awakens to a midsummer dawn on which everyone ‘drank too much last night.’ (Cheever, 776) This
seemingly lighthearted statement, familiar to Ned on a typically fruitless Sunday, epitomises how
nouveau-riche societies at large waste their adulthood by overindulging at ‘uproarious
reunions.’ (Cheever, 778) The phrase can be heard ‘from the lips of the priest himself.’ (Cheever,
776)
This symbolises how even the morally erect succumb to these societal expectations. This moral
question is furthered by Ned’s kissing of more than eight women, as well as his failed attempt at
confiding in a former lover, reflective of the modern man’s embrace of promiscuity and repudiation
of monogamy.
Another interpretation is that the transpiring day is an extended metaphor for Ned’s ageing. As the
narrative progresses, the day literally darkens and by the end, Ned is in autumn, abandoned by the
partygoers, which represents his inability to sustain the debauchery of his youth, as well as by his
family, echoing how, by never accepting his ageing, he had neglected what was truly important to
him.

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Cheever also manipulates seasonal change, with obvious Gaian connotations, to illustrate how
ageing is a process that not even nature can delay. In Ned’s attempt to defy nature, he is eventually
seen by everyone as the person he resented at the beginning: someone afraid of jumping into pools,
noting ‘he did not dive but went down the steps into the icy water.’ (Cheever, 787)
(400 Words)

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3) How do you know? Give evidence for your interpretation. Do this by quoting (accurately)
from the story, and explaining the links between your claims and the quoted sections. How
does the ‘evidence’ support your claims? Make this clear to the reader. Work closely with the
language of the story: diction, tone, narrative voice, dialogue, register, metaphor, irony. But
don’t quote too much: focus on key phrases and passages. Be strategic, stylish and judicious.
(400 words exactly)
Ned’s spontaneous decision to undertake the journey is actually a premeditated attempt to salvage
‘the vague and modest idea of himself as a legendary figure.’ (Cheever, 778) Cheever’s diction here
with terms such as ‘legendary,’ (Cheever, 778) illustrate how Ned’s aging affects his societal
character; he is not merely swimming for himself, but for the applause of his neighbours.
This is further evidenced by the omniscient narrator’s description of him: ‘He might have been
compared to a summer’s day, particularly the last hours of one.’ (Cheever, 777) Through this
comparative, Cheever parallels Ned’s aging to the dying of summer, implying the beginning of a
‘peculiar sadness at the sign of autumn.’ (Cheever, 780)
This metaphor connotes a need to adjust to a new lifestyle, noting he finds ‘the pool furniture
folded,’ (Cheever, 781) which develops irony as his goal was to swim and socialise daylong, but
everyone else seems ready for the end of summer, a metaphor for their riotous youth, and the
beginning of autumn; their senility.
Moreover, through the swimming and the high-profile social occasions, he only perpetuates his
denial of ageing. This is evident as the tone shifts from the conviviality of ‘cheer, glad
tidings,’ (Cheever 5) to disillusionment as he ‘felt miserable, cold, tired, and bewildered.’ (Cheever,
787)
The metaphor of the swimming representing his denial develops as the narrator notes water
effectuates only ‘the illusion of brilliance.’ (Cheever, 782) This creates dramatic irony as even the
readers become privy to Ned’s cognitive dissonance; only he is unaware ‘he had damaged his sense
of the truth.’ (Cheever, 781)
It is through Cheever’s manipulation of dialogue that Ned is rejected, by the former lover: ‘if
you’ve come here for money…I won’t give you another cent.’ (Cheever, 787) This juxtaposes how
‘she had wept when he broke it off,’ (Cheever, 786) characterising Ned as once desirable and now
second-rate. The diction of ‘another,’ (Cheever, 787) indicates that his mendicity is recurrent.

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Ultimately, Ned is rejected by his family, noting he returns home to find ‘the place was
empty.’ (Cheever, 788) In this way, Ned’s narrative embodies the ramifications of repression.
The more he represses his fear of ageing, the greater his cognitive dissonance grows, culminating in
the loss of his family, house, and social esteem: all the things he genuinely valued, but neglected
because of his denial. He completed his pilgrimage, but was left ‘so stupefied with exhaustion that
his triumph seemed vague.’ (Cheever, 788)
(400 Words)