In “The Death of Justina” it is not merely a brush with death (as in “The Country Husband”) but death itself that serves as catalyst not only for a change in the narrator-protagonist’s life but for Cheever’s comic genius as well. “So help me God it gets more and more preposterous, it corresponds less and less to what I remember and what I expect as if the force of life were centrifugal and threw one further and further away from one’s purest memories and ambitions”; the speaker is a version of the figure Cheever imagined in 1959—the man in a quagmire looking up at a tear in the sky—but one whose predicament has somehow become funnier as well as more dire.
If, as the narrator would like to believe, fiction is art, and if art is the triumph over chaos brought about by the exercise of choice, then how is the writer or authorial narrator to continue to effect that triumph in a world in which change occurs too rapidly and in which the basis for making aesthetic as well as moral choices appears to have disappeared? How is one to build Coverly Wapshot’s bridge between “memories and ambitions”?
Aside from the setting (Proxmire Manor) and names (Moses and Justina), “The Death of Justina” exists independently of The Wapshot Scandal in all but two important respects, structure and theme, and specifically in Moses’s wanting to know how, in the world’s most prosperous land, there can be so many disappointed...
(The entire section is 555 words.)