Tiny asks, “Why is you an addict?” It is precisely that basic question that Ezekiel spends the novel trying to answer. At the end, he is redeemed from his literal drug addiction even as he is redeemed within himself from the disgust and destruction that he had both caused and accepted for himself.
Fairly frequently in this novel, Cheever extends the terms of tradition and heritage far beyond the simplistic child-psychology talk that is used to explain the way some of the characters behave. Ezekiel’s aristocratic New England background is mirrored in the age of the prison, whose name has been changed several times over many years, reflecting the shifts in penological and judicial fashions.
Cats are important to the prisoners, as are plants. Even Tiny, who tears off the head of one cat, keeps plants as an antidote to loneliness. The portrayal of the Falconer prisoners tends toward tolerance, to see these people as worthy of tolerant love, of dignity, even though they are hopelessly fallen. That effect is partly accomplished by Cheever’s not lingering over the well-documented sorts of violence, racism, and terror that pervade prisons.
Although Ezekiel does not express regret or remorse about his homosexuality, he often speaks of his penis as an uncontrollable, separate entity, an independent member of some community with him only part of it: “What he saw, what he felt, was the utter poverty of erotic reasonableness.” Love...
(The entire section is 415 words.)