TIME Thursday, Mar. 26, 2009
60. Darkness Visible
By Richard Lacayo
Despite his successes, Cheever feared being a 'dirty fraud.'
60-1-290
In the first great flowering of his career, in the 1950s and '60s, John Cheever was, to all appearances, the crown prince of normality. The wife and three children, the faithful retrievers, the rambling old house in Ossining, N.Y. in all its outward signs, his life was commensurate with his role as the man who was, with John Updike, the esteemed chronicler of the postwar suburbs. But if you came to his fiction expecting sunlit scenes of American life, you were mistaken. Though his work was shot through with the beauty and abundance of the world, of suburban 'nights where kings in golden suits ride elephants over the mountains,' there was also failure and weakness at every turn. The men were poorly equipped for lifethe women were treacherouschildren died.
So it wasn't entirely surprising to discover, after his death at age 70 in 1982, that for much of his life Cheever was miserable, a petulant, belittling husbanda difficult fatherand a severe alcoholic tormented by his secret bisexuality. We learned a lot about this from his journals, 400 pages of lyric abjection published eight years after his death, in which he fears becoming the 'lonely boy with no role in life but to peer in at the lighted windows of other people's contentment and vitality.' But we get a much fuller and more reliable picture in Blake Bailey's fine new biography Cheever: A Life (Knopf770 pages), a portrait of the man drawn judiciously but compellingly and in harrowing detail.
A. ¾îÈÖ
fraud »ç±â, »ç±â²Û. flowering ËÒü£(°³È).
to all appearances èâ̸߾(¿Ü°ß»ó) ¸ðµç ¸é¿¡¼. crown prince ȲÅÂÀÚ.
normality Á¤»óÀÓ. faithful Ãæ½ÇÇÑ. retrievers ¸®Æ®¸®ºê(»ç³É°³ÀÇ ÀÏÁ¾), ȸº¹ÀÚ.
rambling ¾î½½··°Å¸®´Â, (Áý µûÀ§°¡) »ç¹æÀ¸·Î ºÒ±ÔÄ¢ÇÏ°Ô ´Ã¾î³.
the rambling old house (ÁõÃà¿¡ ÀÇÇØ¼) ²Ã»ç³³°Ô ´Ã¾î³ ³°Àº Áý.
commensurate °°Àº Á¤µµÀÇ. John Updike ¹Ì±¹ÀÇ ¼Ò¼³°¡.
esteemed Á¸Áß¹Þ´Â, ³ôÀÌ Æò°¡¹Þ°í ÀÖ´Â. chronicler æÄÓÛÑÀ(¿¬´ë±â)ÀÛ°¡, ±â·ÏÀÚ.
sunlit scenes ºµÀÌ µå´Â Àå¸é(¹à°í ¸í¶ûÇÑ Àå¸é). shoot ÃÔ¿µÇÏ´Ù, Ç¥ÇöÇÏ´Ù.
abundance dz¿ä. golden suits Ȳ±ÝÀÇ ¿Ê, È·ÁÇÑ º¹Àå.
at every turn Óðô¥(µµÃ³)¿¡. treacherous ¹Ý¿ªÇÏ´Â, ºÒÃæ½ÇÇÑ, ¹ÏÀ» ¼ö ¾ø´Â.
miserable ºñÂüÇÑ. petulant ȸ¦ Àß ³»´Â, ¼º±ÞÇÑ, ¼º¹Ì°¡ ±î´Ù·Î¿î.
belittling ÀÛ°Ô ÇÏ´Â, Çæ¶â´Â. severe ½ÉÇÑ, °¡È¤ÇÑ. alcoholic ¾ËÄÚ¿Ã Áßµ¶ÀÚ.
torment °íÅëÀ» ÁÖ´Ù, °í¹®ÇÏ´Ù. bisexuality å»àõäñ(¾ç¼º¾Ö). journal ìíÑÀ(Àϱâ).
lyric ßñï×(¼Á¤)ÀûÀÎ, ßñï×ãÌ(¼Á¤½Ã). abjection Ýäæë(ºñ¿), ÝäÏÝ(ºñ±¼).
peer in ¶Õ¾îÁö°Ô º¸´Ù. contentment ¸¸Á·. vitality Ȱ·Â. reliable ¹ÏÀ» ¼ö ÀÖ´Â.
judiciously ÞÖÕç(»ç·Á)±í°Ô, Çö¸íÇϰÔ. compellingly ¸¶À½À» ²ô´Â.
harrowing °¡½¿ÀÌ Âõ¾îÁú µíÇÑ, ¸¶À½ ¾ÆÇÂ.
B. ±¸¹®
- the crown prince of normality.
[ÀÏ»óÀÇ ¿ÕÀÚ(¸Å¿ì Á¤»óÀûÀÎ Àι°)]
- the esteemed chronicler of the postwar suburbs
[îúý(ÀüÈÄ)(ì£óÓÞîú)¿¡ dz¿äÇÑ »îÀ» ´©¸®°í ÀÖ´Â Îôèâ(±³¿Ü)Áö¿ªÀÇ »îÀ» ¿¬´ë±âÀÛ°¡Ã³·³ Á¤¹ÐÇÏ°Ô ¹¦»çÇÑ ÀÛ°¡]
60-2-291
Cheever grew up in the Greater Boston shore town of Quincy. His father was a traveling shoe salesman successful enough for a while to keep his family in middling Yankee splendor a big house, good schools for John and his older brother Fred. But by the mid-1920s, as Cheever reached his teens, the shoe business was tanking, and his father was increasingly drunk and adrift. To make ends meet, his mother opened a gift shop that Cheever would describe as 'an abysmal humiliation,' at least for him. The big house would be lost anywayhis mother would shed her feckless husband and eventually drink herself to death a motif in the family story.
When Cheever flunked out of Thayer Academy at 17, it was the end of his formal education. He promptly fictionalized the experience into a story that was purchased by the New Republic. One year a dropout, the next a published writer and within a decade, a fixture in the pages of the New Yorker. By the mid-'60s the prizes and (sometimes) money were also rolling in from his first two novels. But by that time, on most mornings he was scuttling to the liquor cabinet right after breakfast to 'scoop' the day's first gin.
A. ¾îÈÖ
middling (µî±Þ µûÀ§°¡) Áß°£ÀÇ, º¸ÅëÀÇ. Yankee ¹Ì±¹ÀÎ, ¹Ì±¹ÀÇ ºÏºÎ »ç¶÷, ¹Ì±¹ÀÇ.
splendor È·ÁÇÔ, ºû³². tanking ħüÇÏ´Ù. increasingly Á¡Á¡ ´õ.
adrift ¾îÂîÇÒ ¹Ù¸¦ ¸ð¸£´Â, Ç¥·ùÇÏ´Â. abysmal 䢿Ð(½É¿¬)ÀÇ, ³¡ÀÌ ¾ø´Â ±íÀÌÀÇ.
humiliation ¼öÄ¡, ±¼¿å.
shed-shed-shed Æ÷±âÇÏ´Ù, ÀÙÀ» ¶³¾î¶ß¸®´Ù, (ÇÇ, ´«¹°À»)È긮´Ù.
feckless ¹«±â·ÂÇÑ, ¹«´ÉÇÑ. flunk ÅðÇÐÇÏ´Ù, ½ÇÆÐÇÏ´Ù. academy »ç¸³ÀÇ Áß°íµîÇб³.
promptly Áï½Ã. fictionalize ¼Ò¼³ÈÇÏ´Ù. dropout Áßµµ ÅðÇÐÀÚ.
the New Republic íÚò¼Þä(ÀâÁö»ç) À̸§. cf. republic °øÈ±¹.
fixture °íÁ¤ ÐöÍÃÊ«(±â°í°¡). the New Yorker ½Å¹®»ç À̸§.
scuttle ¼µÑ·¯ °¡´Ù. liquor ¾ËÄÚ¿Ã À½·á, ¼ú. cabinet Áø¿Àå, ÀÛÀº ¹æ.
scoop ÆÛ³»´Ù. gin ¹«»öÀÇ Áõ·ùÁÖ
B. ±¸¹®
- To make ends meet
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