John Cheever poses for a portrait with his wife, Mary Cheever, on March 13, 1964, at their home in Ossining, New York. Photograph by David Gahr/Getty Images.

Jim was too tired to make even a pretense of sociability, and there was nothing about the dinner to hold Irene’s interest, so her attention wandered from the food to the deposits of silver polish on the candlesticks and from there to the music in the other room. She listened for a few minutes to a Chopin prelude and then was surprised to hear a man’s voice break in. “For Christ’s sake, Kathy,” he said, “do you always have to play the piano when I get home?” The music stopped abruptly. “It’s the only chance I have,” a woman said. “I’m at the office all day.” “So am I,” the man said. He added something obscene about an upright piano, and slammed a door. The passionate and melancholy music began again.

“Did you hear that?” Irene asked.

— from “The Enormous Radio” by John Cheever, originally published in The New Yorker in 1947

I was the model for a group of mischievous, neglected, wise-before-their-time prepubescent girls who did everything from getting lost to nabbing the nuts put out for cocktails, and my mother was my father’s one-woman university for the study of women—especially pretty, selfish women. “The Enormous Radio” was written in early 1947, and it features the superficially attractive family that often opens my father’s short stories, whether they are set in New York City or in the suburbs that line the Hudson River—the Rhine of America. In this story, written when we lived in the brick apartment building at 400 East Fifty-Ninth Street near the East River, Jim and Irene Westcott and their two children live in an Upper East Side apartment building near the East River. They are an ordinary family except for one unusual thing: their love of music. They share an eccentric passion for Mozart, Beethoven, and Bach. They love the Chopin études and thrill to the Fifth Symphony. How can this be a problem? How could this enthusiasm unravel their perfect lives?

If the Westcotts have a guilty secret, something that sets them apart from the neighbors in their prewar brick building with its doorman and awning, it is this music. They are moved by Schubert quartets in a world where many people have adjusted their ears to silence, traffic noise, or the ambient music piped into public spaces. But as the Westcotts find out when a new radio triumphantly bought to replace the old one comes into their living room, their neighbors have a less savory assortment of guilty secrets.

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From Details of “Winter,“ a portfolio that appears in the Winter 1976 issue of The Paris Review.

Yan Lianke’s story “Plants, Stones, Dirt, and Sky,” translated by Jeremy Tiang, appears in the Fall 2025 issue of The Paris Review.

When an author is blocked from publication in his own country yet cannot live anywhere else, he finds himself being both debated and yelled at, attacked and beloved, forgotten but always remembered again, like a hedgehog that, for whatever reason, has to crawl along human pathways, surrounded by onlookers, getting kicked and shunted with sticks into the undergrowth, though there will inevitably be some people who find this creature as important as life itself and gently swaddle it in their clothes to carry it to an uninhabited part of the forest. Yet that hedgehog will crawl back onto the path whenever the sun is out.

Because the sun shines on that forest path.

Because the hedgehog longs for sunlight.

That’s how things are, cyclical and repetitious, repetitious and cyclical. Might the day come when the hedgehog expires on that sunlit path?

Since turning sixty, I’ve thought about death every single day. Read More

“Watchers,” from the portfolio Painting Past Photographs by Bradford Johnson, which appeared in the Winter 2003 issue of The Paris Review.

So this is hunger. A new war raging inside the war of missiles and bombs, a war no less brutal or mighty than the one searing us with its fires and sending us running to escape its crushing force. Hunger came for us in our home, as it did for others. We eat one meal a day now, halfway through the day; in the morning, a few biscuits are first shared between the children and then the adults, and in the evenings, we make do with tea.

Shortly after flour disappeared from the market in November 2023, it began to circulate again in the sacks originally intended for distribution by UNRWA. This sudden appearance was the result of an act of mass looting by crowds of hungry people, which we only heard about afterward: they had stormed the UNRWA warehouses, some breaking down the doors while others scaled the walls, and emptied them of their supplies—not only flour, but also tinned sardines, corn oil, milk powder, and dried lentils and chickpeas—in a matter of minutes. Apparently, they’d even taken wooden desks, shelves, and the agency’s archives—all of which could be used as firewood. I bought a sack of looted UNRWA flour for more than four times the usual price and made my way home as if bearing priceless treasure. My wife Ula and her sisters were jubilant, and we were all seized by a dark joy amid the wasteland of fear and grief that grows vaster and more desolate by the day as the war continues to escalate. We felt momentarily comfortable and safe; we could bake our own bread now, instead of waiting under the hot sun for hours in the uncertain hope of finding some at the bakery. But another problem stood in our path: to turn the thin rounds of dough into bread we needed an oven, and all we had in the apartment was a gas canister that barely sufficed to cook our regular meals. We would have to find some other way.

Mud ovens, which are what rural Gazan families have always used for cooking and baking, are dotted across the green patches that lie between the apartment blocks in Hamad City. The women they belong to are generous and volunteer their help when other families turn up needing to bake something, only asking them to bring enough paper and cardboard for fuel. But we didn’t have any paper or cardboard in the house—only my books. Read More