"That's the way I remember them, heading for an exit"
About this Quote
A Cheever line that feels like it’s already halfway out the door: “That’s the way I remember them, heading for an exit.” The hook is its casual finality. “That’s the way” is the voice of someone settling an argument with himself, smoothing over doubts with the authority of recollection. But Cheever’s narrators often know that memory isn’t a courtroom transcript; it’s a story you keep retelling until it sounds like fact.
The real sting is in “them.” It’s collective, anonymous, and faintly dismissive, as if the speaker can’t or won’t grant individuals the dignity of names. That flattening is a social gesture as much as a psychological one: the suburban world Cheever chronicled runs on polite surfaces and quiet exclusions. People become types, guests, neighbors, bodies at a party. When the masks slip, the fastest repair is to turn the scene into a tidy memory and move on.
“Heading for an exit” works on two levels at once. On the literal plane, it’s a tableau of departure: the end of an evening, the moment when charm curdles into fatigue, when the room’s oxygen thins with unspoken disappointments. On the deeper plane, it’s existential and distinctly Cheever: everyone angled toward escape, whether from marriage, from class expectations, from their own longing. The line doesn’t dramatize the leaving; it normalizes it. That’s the subtextual cruelty. In Cheever’s America, the most revealing detail isn’t who arrived, but who was already planning how to get out.
The real sting is in “them.” It’s collective, anonymous, and faintly dismissive, as if the speaker can’t or won’t grant individuals the dignity of names. That flattening is a social gesture as much as a psychological one: the suburban world Cheever chronicled runs on polite surfaces and quiet exclusions. People become types, guests, neighbors, bodies at a party. When the masks slip, the fastest repair is to turn the scene into a tidy memory and move on.
“Heading for an exit” works on two levels at once. On the literal plane, it’s a tableau of departure: the end of an evening, the moment when charm curdles into fatigue, when the room’s oxygen thins with unspoken disappointments. On the deeper plane, it’s existential and distinctly Cheever: everyone angled toward escape, whether from marriage, from class expectations, from their own longing. The line doesn’t dramatize the leaving; it normalizes it. That’s the subtextual cruelty. In Cheever’s America, the most revealing detail isn’t who arrived, but who was already planning how to get out.
Quote Details
| Topic | Nostalgia |
|---|---|
| Source | Help us find the source |
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