We debut a new feature: Recall This Story, in which a contemporary writer picks out a bygone story to read and to analyze. Surely there is no better novelist to begin with than RTB' shouse sage, Steve McCauley.And not just because he's got the pipes to power through a whole fantabulous John Cheever story. "The Five-Forty-Eight" (published in The New Yorker 70 years ago) is about sordidness uncovered, a train, and a face in the dirt. It ticks almost every Cheever box, evoking an infinitude of lives unled elsewhere while ostensibly documenting nothing more than the time to takes to down a couple of drinks, scuttle feverishly through some midtown streets, and take a lumbering commuter train out of the city.Steve feels that in our own century, things have changed for the American short story and there's no going back to Cheever's mode. After Raymond Carver, it would be hard to embrace the proliferation (sometimes dizzying, sometimes delightful) of solid details that Cheever deploys. The two try out a final comparison to E M Forster who also quasi-fit into this society, but, Steve opines, could project himself into his female characters in a way that Cheever cannot or will not.John Cheever works mentioned:

"The Swimmer" (also a Gregory Peck movie)

"The Jewels of the Cabots"

"Oh Youth and Beauty" and other stories that nest multiple lives within a single frame, like "The Day the Pig Fell into the Well"

Works by others:

Sloane Wilson's 1955 novel, Man in the Gray Flannel Suit (and the 1956 film)

Flannery O'Connor, "A Good Man is Hard to Find" ("she would have been a good woman if there had been someone there to shoot her every day of her life.")

Anton Chekov, "Lady with the Lapdog"

Richard Yates and mid-century office nihilism (eg his 1961 Revolutionary Road)

Jean Stafford's novels (The Mountain Lion, Boston Adventure) do get reprinted and re-read, Steve points out.

Raymond Carver, only partially minimalist, but reduced still further by Gordon Lish in e.g. the story "Mr Copy and Mr fix-it"

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