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John Cheever's First Short Story, Ever

"Expelled": The tale of his expulsion from prep school

Edouard Boubat/Gamma-Rapho/Getty Images

In the fall of 1930, an 18-year-old John Cheever—a boy with a low voice and a “determined chin,” as editor Malcolm Cowley described him—appeared in the offices of The New Republic. Despite rarely publishing fiction, the magazine had recently run Cheever’s short story “Expelled,” a series of acerbic impressions fictionalizing Cheever’s own expulsion from prep school. Upon Cheever’s arrival, Cowley invited the writer to an afternoon party at his apartment, where, after four or five Manhattans, Cheever made a somewhat ignominious exit. “I rushed to Mrs. Cowley,” he later recalled, thanked her for the party, and reached the apartment-house hallway, where I vomited all over the wallpaper.” Cowley never mentioned the incident, and the two men remained friends for years. More than a half-century later, when Cowley encountered the cancer-frail Cheever, he was struck by their reversal: “We were two men who had grown old in the service of literature, but our roles had been transposed: John was now older than I and was leading the way.” However, looking back at this early story, Cowley remembers feeling that he “was hearing for the first time the voice of a new generation.”

It didn’t come all at once. It took a very long time. First I had a skirmish with the English department and then all the other departments. Pretty soon something had to be done. The first signs were cordialities on the part of the headmaster. He was never nice to anybody unless he was a football star, or hadn't paid his tuition or was going to be expelled. That's how I knew. He called me down to his office with the carved chairs arranged in a semicircle and the brocade curtains resting against the vacant windows. All about him were pictures of people who had got scholarships at Harvard. He asked me to sit down.

"Well, Charles," he said, "some of the teachers say you aren't getting very good marks."

"Yes," I said, "that's true." I didn't care about the marks.

"But Charles," he said, "you know the scholastic standard of this school is very high and we have to drop people when their work becomes unsatisfactory." I told him I knew that also. Then he said a lot of things about the traditions, and the elms, and the magnificent military heritage from our West Point founder.

It was very nice outside of his room. He had his window pushed open halfway and one could see the lawns pulling down to the road behind the trees and the bushes. The gravy-colored curtains were too heavy to move about in the wind, but some papers shifted around on his desk. In a little while I got up and walked out. He turned and started to work again. I went back to my next class.

The next day was very brilliant and the peach branches were full against the dry sky, I could hear people talking and a phonograph playing. The sounds came through the peach blossoms and crossed the room. I lay in bed and thought about a great many things. My dreams had been thick. I remembered two converging hills, some dry apple trees and a broken blue egg cup. That is all I could remember.

I put on knickers and a soft sweater and headed toward school. My hands shook on the wheel, I was like that all over.

Through the cloudy trees I could see the protrusion of the new tower. It was going to be a beautiful new tower and it was going to cost a great deal of money. Some thought of buying new books for the library instead of putting up a tower, but no one would see the books. People would be able to see the tower five miles off when the leaves were off the trees. It would be done by fall.

When I went into the building the headmaster's secretary was standing in the corridor. She was a nice sort of person with brown funnels of hair furrowed about a round head. She smiled. I guess she must have known.


Every morning we went up into the black chapel. The brisk headmaster was there. Sometimes he had a member of the faculty with him. Sometimes it was a stranger.

He introduced the stranger, whose speech was always the same. In the spring life is like a baseball game, in the fall it is like football. That is what the speaker always said.

The hall is damp and ugly with skylights that rattle in the rain. The seats are hard and you have to hold a hymnbook in your lap. The hymnbook often slips off and that is embarrassing.

On Memorial Day they have the best speaker. They have a mayor or a Governor. Sometimes they have a Governor's second. There is very little preference.

The Governor will tell us what a magnificent country we have. He will tell us to beware of the Red menace. He will want to tell us that the goddam foreigners should have gone home a hell of a long time ago. That they should have stayed in their own goddam countries if they didn't like ours. He will not dare say this though.

If they have a mayor the speech will be longer. He will tell us that our country is beautiful and young and strong. That the War is over, but that if there is another war we must fight. He will tell us that war is a masculine trait that has brought present civilization to its fine condition. Then he will leave us and help stout women place lilacs on graves. He will tell them the same thing.

One Memorial Day they could not get a Governor or a mayor. There was a colonel in the same village who had been to war and who had a chest thick with medals. They asked him to speak. Of course he said he would like to speak.

He was a thin colonel with a soft nose that rested quietly on his face. He was nervous and pushed his wedding ring about his thin finger. When he was introduced he looked at the audience sitting in the uncomfortable chairs. There was silence and the dropping of hymnbooks like the water spouts in the aftermath of a heavy rain.

He spoke softly and quickly. He spoke of war and what he had seen. Then he had to stop. He stopped and looked at the boys. They were staring at their boots. He thought of the empty rooms in the other buildings. He thought of the rectangles of empty desks. He thought of the curtains on the stage and the four Windsor chairs behind him. Then he started to speak again.

He spoke as quickly as he could. He said war was bad. He said that there would never be another war. That he himself should stop it if he could. He swore. He looked at the young faces. They were all very clean. The boys' knees were crossed and their soft pants hung loosely. He thought of the empty desks and began to whimper.

The people sat very still. Some of them felt tight as though they wanted to giggle. Everybody looked serious as the clock struck. It was time for another class.

People began to talk about the colonel after lunch. They looked behind them. They were afraid he might hear them.

It took the school several weeks to get over all this. Nobody said anything, but the colonel was never asked again. If they could not get a Governor or a mayor they could get someone besides a colonel. They made sure of that.


Margaret Courtwright was very nice. She was slightly bald and pulled her pressed hair down across her forehead. People said that she was the best English teacher in this part of the country, and when boys came back from Harvard they thanked her for the preparation she had given them. She did not like Edgar Guest, but she did like Carl Sandburg. She couldn't seem to understand the similarity. When I told her people laughed at Galsworthy she said that people used to laugh at Wordsworth. She did not believe people were still laughing at Wordsworth. That was what made her so nice.

She came from the West a long time ago. She taught school for so long that people ceased to consider her age. After having seen twenty-seven performances of "Hamlet" and after having taught it for sixteen years, she became a sort of immortal. Her interpretation was the one accepted on college-board papers. That helped everyone a great deal. No one had to get a new interpretation.

When she asked me for tea I sat in a walnut armchair with grapes carved on the head and traced and retraced the arms on the tea caddy. One time I read her one of my plays. She thought it was wonderful. She thought it was wonderful because she did not understand it and because it took two hours to read. When I had finished, she said, "You know that thing just took right hold of me. Really it just swept me right along. I think it's fine that you like to write. I once had a Japanese pupil who liked to write. He was an awfully nice chap until one summer he went down to Provincetown, When he came back he was saying that he could express a complete abstraction. Fancy . . . a complete abstraction. Well, I wouldn't hear of it and told him how absurd it all was and tried to start him off with Galsworthy again, but I guess he had gone just too far. In a little while he left for New York and then Paris. It was really too bad. One summer in Provincetown just ruined him. His marks fell down . . . he cut classes to go to symphony, . .." She went into the kitchen and got a tray of tarts.

The pastries were flaky and covered with a white coating that made them shine in the dead sunlight. I watched the red filling burst the thin shells and stain the triangles of bright damask. The tarts were good. I ate most of them.

She was afraid I would go the way of her Japanese pupil. She doubted anyone who disagreed with Heine on Shakespeare and Croce on expression.

One day she called me into her antiseptic office and spoke to me of reading Joyce. "You know, Charles," she said, "this sex reality can be quite as absurd as a hypercritical regard for such subjects. You know that, don't you? Of course, you do." Then she went out of the room. She had straight ankles and wore a gold band peppered with diamond chips on her ring finger. She seemed incapable of carrying the weight of the folds in her clothing. Her skirt was askew, either too long in front or hitching up on the side. Always one thing or the other.

When I left school she did not like it. She was afraid I might go too near Provincetown.

She wished me good luck and moved the blotter back and forth on her desk. Then she returned to teaching "Hamlet."

Late in February Laura Driscoll got fired for telling her history pupils that Sacco and Vanzetti were innocent. In her farewell appearance the headmaster told everyone how sorry he was that she was going and made it all quite convincing. Then Laura stood up, told the headmaster that he was a damned liar, and waving her fan-spread fingers called the school a hell of a dump where everyone got into a rut.

Miss Courtwright sat closely in her chair and knew it was true. She didn't mind much. Professor Rogers with his anti-feminization movement bothered her a little, too. But she knew that she had been teaching school for a long time now and no movement was going to put her out of a job overnight—what with all the boys she had smuggled into Harvard and sixteen years of "Hamlet."


History classes are always dead. This follows quite logically, for history is a dead subject. It has not the death of dead fruit or dead textiles or dead light. It has a different death. There is not the timeless quality of death about it. It is dead like scenery in the opera. It is on cracked canvas and the paint has faded and peeled and the lights are too bright. It is dead like old water in a zinc bathtub.

"We are going to study ancient history this year," the teacher will tell the pupils. "Yes, ancient history will be our field.

"Now of course, this class is not a class of children any longer. I expect the discipline to be the discipline of well bred young people. We shall not have to waste any time on the scolding of younger children. No. We shall just be able to spend all our time on ancient history.

"Now about questions. I shall answer questions if they are important. If I do not think them important I shall not answer them, for the year is short, and we must cover a lot of ground in a short time. That is, if we all cooperate and behave and not ask too many questions we shall cover the subject and have enough time at the end of the year for review.

"You may be interested in the fact that a large percentage of this class was certified last year. I should like to have a larger number this year. Just think, boys: wouldn't it be fine if a very large number—a number larger than last year—was certified? Wouldn't that be fine? Well, there's no reason why we can't do it if we all cooperate and behave and don't ask too many questions.

"You must remember that I have twelve people to worry about and that you have only one. If each person will take care of his own work and pass in his notebook on time it will save me a lot of trouble. Time and trouble mean whether you get into college or not, and I want you all to get into college.

"If you will take care of your own little duties, doing what is assigned to you and doing it well, we shall all get along fine. You are a brilliant-looking group of young people, and I want to have you all certified. I want to get you into college with as little trouble as possible.

"Now about the books. . . . "

I do not know how long history classes have been like this. One time or another I suppose history was alive. That was before it died its horrible flydappled unquivering death.

Everyone seems to know that history is dead. No one is alarmed. The pupils and the teachers love dead history. They do not like it when it is alive. When Laura Driscoll dragged history into the classroom, squirming and smelling of something bitter, they fired Laura and strangled the history. It was too tumultuous. Too turbulent.

In history one's intellect is used for mechanical speculation on a probable century or background. One's memory is applied to a list of dead dates and names. When one begins to apply one's intellect to the mental scope of the period, to the emotional development of its inhabitants, one becomes dangerous. Laura Driscoll was terribly dangerous. That's why Laura was never a good history teacher.

She was not the first history teacher I had ever had. She is not the last I will have. But she is the only teacher I have ever had who could feel history with an emotional vibrance—or, if the person was too oblique, with a poetic understanding. She was five feet four inches tall, brown-haired, and bent-legged from horseback riding. All the boys thought Laura Driscoll was a swell teacher.

She was the only history teacher I have ever seen who was often ecstatical. She would stand by the boards and shout out her discoveries on the Egyptian cultures. She made the gargoylic churnings of Chartres in a heavy rain present an applicable meaning. She taught history as an interminable flood of events viewed through the distortion of our own immediacy. She taught history in the broad-handed rhythms of Hauptmann's drama, in the static melancholy of Egypt moving before its own shadow down the long sand, in the fluted symmetry of the Doric culture. She taught history as a hypothesis from which we could extract the evaluation of our own lives.

She was the only teacher who realized that, coming from the West, she had little business to be teaching these children of New England.

"I do not know what your reaction to the sea is," she would say. "For I have come from a land where there is no sea. My elements are the fields, the sun, the plastic cadence of the clouds and the cloudlessness. You have been brought up by the sea. You have been coached in the cadence of the breakers and the strength of the wind.

"My emotional viewpoints will differ from yours. Do not let me impose my perceptions upon you."

However, the college-board people didn't care about Chartres as long as you knew the date. They didn't care whether history was looked at from the mountains or the sea. Laura spent too much time on such trivia and all of her pupils didn't get into Harvard. In fact, very few of her pupils got into Harvard, and this didn't speak well for her.

While the other members of the faculty chattered over Hepplewhite legs and Duncan Phyfe embellishments, Laura was before five-handed Siva or the sexless compassion glorious in its faded polychrome. Laura didn't think much of America. Laura made this obvious and the faculty heard about it. The faculty all thought America was beautiful. They didn't like people to disagree.

However, the consummation did not occur until late in February. It was cold and clear and the snow was deep. Outside the windows there was the enormous roaring of broken ice. It was late in February that Laura Driscoll said Sacco and Vanzetti were undeserving of their treatment.

This got everyone all up in the air. Even the headmaster was disconcerted.

The faculty met.

The parents wrote letters.

Laura Driscoll was fired.

"Miss Driscoll," said the headmaster during her last chapel at the school, "has found it necessary to return to the West. In the few months that we have had with us, she has been a staunch friend of the academy, a woman whom we all admire and love and who, we aresure, loves and admires the academy and its elms as we do. We are all sorry Miss Driscoll is leaving us. . . "

Then Laura got up, called him a damned liar, swore down the length of the platform and walked out of the building.

No one ever saw Laura Driscoll again. By the way everyone talked, no one wanted to. That was all late in February. By March the school was quiet again. The new history teacher taught dates. Everyone carefully forgot about Laura Driscoll.

"She was a nice girl," said the headmaster, "but she really wasn't made for teaching history. . . . No, she really wasn't a born history teacher."


The spring of five months ago was the most beautiful spring I have ever lived in. The year before I had not known all about the trees and the heavy peach blossoms and the tea-colored brooks that shook down over the brown rocks. Five months ago it was spring and I was in school.

In school the white limbs beyond the study hall shook out a greenness, and the tennis courts became white and scalding. The air was empty and hard, and the vacant wind dragged shadows over the road. I knew all this only from the classrooms.

I knew about the trees from the window frames. I knew the rain only from the sounds on the roof. I was tired of seeing spring with walls and awnings to intercept the sweet sun and the hard fruit. I wanted to go outdoors and see the spring, I wanted to feel and taste the air and be among the shadows. That is perhaps why I left school.

In the spring I was glad to leave school. Everything outside was elegant and savage and fleshy. Everything inside was slow and cool and vacant. It seemed a shame to stay inside.

But in a little while the spring went. I was left outside and there was no spring. I did not want to go in again. I would not have gone in again for anything. I was sorry, but I was not sorry over the fact that I had gone out. I was sorry that the outside and the inside could not have been open to one another. I was sorry that there were roofs on the classrooms and trousers on the legs of the instructors to insulate their contacts. I was not sorry that I had left school. I was sorry that I left for the reasons that I did.

If I had left because I had to go to work or because I was sick it would not have been so bad. Leaving because you are angry and frustrated is different. It is not a good thing to do. It is bad for everyone.

Of course it was not the fault of the school. The headmaster and faculty were doing what they were supposed to do. It was just a preparatory school trying to please the colleges. A school that was doing everything the colleges asked it to do.

It was not the fault of the school at all. It was the fault of the system—the non-educational system, the college-preparatory system. That was what made the school so useless.

As a college-preparatory school it was a fine school. In five years they could make raw material look like college material. They could clothe it and breed it and make it say the right things when the colleges asked it to talk. That was its duty.

They weren't prepared to educate anybody. They were members of a college-preparatory system. No one around there wanted to be educated. No sir.

They presented the subjects the colleges required. They had math, English, history, languages and music. They once had had an art department but it had been dropped. "We have enough to do," said the headmaster, "just to get all these people into college without trying to teach them art. Yes sir, we have quite enough to do as it is."

Of course there were literary appreciation and art appreciation and musical appreciation, but they didn't count for much. If you are young, there is very little in Thackeray that is parallel to your own world. Van Dyke's "Abbe Scaglia" and the fretwork of Mozart quartets are not for the focus of your ears and eyes. All the literature and art that holds a similarity to your life is forgotten. Some of it is even forbidden.

Our country is the best country in the world. We are swimming in prosperity and our President is the best president in the world. We have larger apples and better cotton and faster and more beautiful machines. This makes us the greatest country in the world. Unemployment is a myth. Dissatisfaction is a fable. In preparatory school America is beautiful. It is the gem of the ocean and it is too bad. It is bad because people believe it all. Because they become indifferent. Because they marry and reproduce and vote and they know nothing. Because the tempered newspaper keeps its eyes ceilingwards and does not see the dirty floor. Because all they know is the tempered newspaper.

But I will not say any more. I do not stand in a place where I can talk.

And now it is August. The orchards are stinking ripe. The tea-colored brooks run beneath the rocks. There is sediment on the stone and no wind in the willows. Everyone is preparing to go back to school. I have no school to go back to.

I am not sorry. I am not at all glad.

It is strange to be so very young and to have no place to report to at nine o'clock. That is what education has always been. It has been laced curtseys and perfumed punctualities.

But now it is nothing. It is symmetric with my life. I am lost in it. That is why I am not standing in a place where I can talk.

The school windows are being washed. The floors are thick with fresh oil.

Soon it will be time for the snow and the symphonies. It will be time for Brahms and the great dry winds.