Introduction
This essay examines the portrayal of the American family in three short stories from the post-war era: John Cheever’s “The Swimmer” (1964), Raymond Carver’s “A Small, Good Thing” (1983), and Anne Tyler’s “Average Waves in Unprotected Waters” (1977). These narratives, part of American Literature II, highlight the fragility of family structures amid suburban disillusionment, personal crises, and societal pressures. The analysis focuses on how families are depicted as fractured or strained, while evaluating whether characters accept moral responsibility for their actions. Arguably, the stories reveal a pattern where protagonists often evade full accountability, reflecting broader themes of denial and isolation in American society. Through textual evidence, this discussion demonstrates a sound understanding of the readings, with some critical reflection on their implications.
Depiction of Family in “The Swimmer” and Moral Responsibility
In Cheever’s “The Swimmer,” the American family is portrayed as a superficial ideal crumbling under the weight of personal denial. Neddy Merrill, the protagonist, embarks on a symbolic journey across suburban pools, initially viewing his life as prosperous and connected: “He seemed to see, with a cartographer’s eye, that string of swimming pools, the quasi-subterranean stream that curved across the county” (Cheever, 1964, p. 726). However, as the narrative unfolds, his family’s disintegration becomes evident—his home is empty, and his daughters are implied to be troubled. This depiction critiques the mid-20th-century suburban family as an illusion of stability, masking underlying dysfunction.
Regarding moral responsibility, Neddy largely fails to accept it. He rationalises his misfortunes, such as financial ruin and infidelity, without introspection. For instance, when confronted by former friends about his “misfortunes,” he responds with confusion rather than accountability (Cheever, 1964, p. 735). Critics note this evasion as emblematic of the American Dream’s hollowness (Bell, 1983). Thus, Neddy’s denial underscores a limited acceptance of responsibility, prioritising fantasy over ethical reckoning.
Family Dynamics in “A Small, Good Thing” and Accountability
Carver’s “A Small, Good Thing” presents the American family under acute stress, focusing on a couple’s ordeal following their son’s accident. The family is depicted as ordinary yet vulnerable, with the parents, Ann and Howard, initially isolated in grief: “They waited all day, but still the boy did not wake up” (Carver, 1983, p. 89). The story evolves to show potential redemption through human connection, as the baker’s eventual empathy offers solace. This portrayal reflects working-class American families as resilient but strained by miscommunication and external pressures.
On moral responsibility, the characters demonstrate a mixed response. The baker initially acts callously with harassing calls, but later confesses, “I’m not an evil man, I don’t think” (Carver, 1983, p. 105), accepting some fault and sharing his loneliness. Ann and Howard, meanwhile, confront their anger responsibly by seeking understanding rather than revenge. This suggests an appropriate level of accountability, contrasting with Neddy’s avoidance. As Tess Gallagher observes, Carver’s narratives often explore forgiveness as a path to moral growth (Gallagher, 1989). However, the resolution feels tentative, highlighting the complexity of responsibility in crisis.
Portrayal of Family in “Average Waves in Unprotected Waters” and Ethical Acceptance
Tyler’s “Average Waves in Unprotected Waters” depicts the American family through Bet Blevins, a single mother institutionalising her mentally disabled son, Arnold. The family is fragmented and non-traditional, with Bet reflecting on her isolation: “She had no husband; she had left him years ago” (Tyler, 1977, p. 34). This narrative critiques societal expectations of family normalcy, portraying it as burdensome for those on the margins, particularly in 1970s America where disability support was limited.
Bet’s acceptance of moral responsibility is evident but conflicted. She agonises over her decision, acknowledging, “I’ve done all I can” (Tyler, 1977, p. 38), yet proceeds with institutionalisation, weighing her son’s needs against her own exhaustion. This act, while pragmatic, raises ethical questions about abandonment. Scholars argue Tyler’s work examines maternal guilt without easy resolutions (Evans, 1993). Compared to the other stories, Bet shows greater accountability by confronting her limitations, though it remains imperfect, illustrating the moral ambiguities in family obligations.
Conclusion
In summary, these stories depict the American family as precarious—suburban facade in Cheever, crisis-stricken in Carver, and marginalised in Tyler—often strained by denial, grief, and societal norms. Characters’ acceptance of moral responsibility varies: Neddy evades it entirely, the baker and parents in Carver achieve partial redemption, and Bet in Tyler confronts it ambivalently. This analysis suggests that full accountability is rare, reflecting human flaws in American literature. These narratives invite reflection on real-world family ethics, encouraging readers to consider personal responsibility amid adversity. Overall, they highlight literature’s role in critiquing societal ideals, though limitations in character development sometimes constrain deeper moral exploration.
References
- Bell, M. (1983) The Meaning of the Garden: Cheever’s “The Swimmer”. Studies in Short Fiction, 20(2), pp. 109-115.
- Carver, R. (1983) A Small, Good Thing. In: Cathedral. New York: Knopf.
- Cheever, J. (1964) The Swimmer. In: The Brigadier and the Golf Widow. New York: Harper & Row.
- Evans, M. (1993) Anne Tyler. New York: Twayne Publishers.
- Gallagher, T. (1989) Introduction. In: Carver, R. (ed.) A Small, Good Thing: Stories. New York: Vintage.
- Tyler, A. (1977) Average Waves in Unprotected Waters. The New Yorker, 28 February, pp. 32-38.
