Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
Now the darkness only stays at night time In the morning it will fade away Daylight is good At arriving at the right time But it’s not always going To be this grey
(The short story “The Pool” by T. Coraghessan Boyle appeared in the September 22nd, 2025 issue of The New Yorker.)
Illustration by Leanne Shapton
Here’s an old saying that will live forever; Imitation is the sincerest form of flattery. And when I hear this line, I contemplate if other words can also show sincere flattery, like – Impression, Takeoff, Parody, Sendup, Reproduction, Inspiration, or Synthesis. While reading T. Coraghessan Boyle’s “The Pool” I began to wonder how much of a debt this story owes to John Cheever’s “The Swimmer,” and should that be interpreted as a form of flattery?
Now, I’m not the one who originally brought up Cheever. The story did it in the seventh paragraph. Also, “The Pool” is a story that is being published in The New Yorker, and that story references one of Cheever’s most famous stories, “The Swimmer” which was also published in The New Yorker. As such, the preponderance of the evidence leads me to believe that “The Swimmer” is, if nothing else, an influence on this story.
“The Pool” is about a pool which is a part of a house that is recently purchased by the narrator/protagonist and his wife. They have two kids, and she is pregnant with their third, and final child. From the beginning of the story, there is a concern that a child may drown in the pool, and this foreshadowing comes to fruition when the narrator’s son falls into the pool at their house warming party. Thankfully the child is saved by a family friend, Malcolm, who is helping the narrator to paint the house. This near-death moment is the first of three that happen in the story; the other being a tree branch falling on the narrator’s wife, and the ending with the narrator jumping off the roof into the pool. Nothing bad happens to them, they stay lucky and safe. The same cannot be said for others in the story. Malcolm’s marriage falls apart, a baby opossum falls into the pool, and though rescued with attempts to nurse it back to health, the animal dies. In fact, there is dangerous wildlife just beyond the backyard fence, which the narrator encounters, and chooses not to tell his wife or family about. The narrator seems most concerned about drinking and staying high around his pool as the summer wains on with an almost never-ending round of pool parties at the home.
And that brings me to my biggest rub; what to make of the narrator/protagonist? I wouldn’t go full blown and call him a narcissist, but he is rather self-absorbed. His children get very few mentions, other than saying they moved to find better schools, and that his wife’s birth control failed three times. His relationship with his pregnant wife seems to be fine, though he doesn’t show or say anything affectionate toward her even in her grand expecting state. Even the birth of their third child feels more like a footnote so the narrator can return home and continue sitting around the pool drinking with Malcolm. As the story progresses, the narrator seems to devolve into a more adolescent state. Having fun at the pool seems to be his only concern. It doesn’t lend itself to a satisfying character arc, because if this was a hero’s journey, then the journey never got started.
Yet, I kept finding myself being pulled back to “The Swimmer” reference at the start of the story. Is “The Pool” a comment on current life in the suburbs? Is it a comment on men and their need for leisure? Or is it talking about men who fail up in life? Or is this about the aspirational attainment of “the American Dream” and how it can insulate you from the harsh realities of our modern world? I don’t know… I’m just not sure.
I do want to add that I enjoy T. Coraghessan Boyle’s writing. Reading this story, the prose was compelling, and even urgent in places. There are moments of unease, and tension so the story, and I would say intentionally, feels as if it is settled on uneven ground. That things could shift at any moment. There are no clear lines here, but curves that the tone and themes progress on. It doesn’t follow a pattern, which is refreshing and should be acknowledged.
I’m glad I read “The Pool” and for making me go look up “The Swimmer” as well. I can’t shake the feeling that “The Pool” is inspired and influenced by “The Swimmer” but still not sure what to make of it. I do recommend that you read it. If for no other reason than to ask, “What do you think it was about?”
If you have a moment, please check out my review, but if you REALLY have a moment, please read Gabe Montesanti’s very unique poem, which Okay Donkey published back in April of this year.
Also, I would like to thank everyone over at Split Lip for their help and support, especially Daniel, who guided and edited my piece. It was a lotta fun, and enjoyed the experience.
(The prose poetry piece “Plum Mother” by Michael Nickels-Wisdom was published August 27th, 2025 on Lost Balloon.)
I don’t know if there is officially a genre of poetry that is about pets, but there should be. Most of these pieces are melancholic in nature and conclude with the pet passing on. What these pieces remind me of is Poe’s “The Philosophy of Composition,” in which he states that, “the death, then, of a beautiful woman is unquestionably, the most poetical topic in the world.” I would argue, and I am not making a joke here, that you could substitute one’s “pet” and come to the same conclusion.
Please, let me explain…
I was struck by this thought of while reading Michael Nickels-Wisdom’s “Plumb Mother.” This is a short prose poetry piece and it would be easy, and unwise, to simply see this as an anecdote of the speaker’s quirky but loved dog. From the beginning, the dog is delivered from above, down to the speaker, and by the second line it is established that the dog is well taken care of and has lived a long life of 17 years with the speaker and their family. In the dog’s middle age, she is given a plum which she treats as a child; acting as if it were nursing and defending the plum when it is “threatened.” Unfortunately, the plum withers, leaving the dog to set it down and mourn its passing.
Poetry can exist and function in a timeless state, but in this piece we clearly have a past and a present. This dog now exists in the past, as we are told that in the second line, which hits on the “most poetical topic in the world,” while also establishing a melancholy feel for the rest of the poem. Though the story of the dog’s actions with the plum are humorous, it is in the last line where it is understood that there are two sets of mourning occurring here; the dog and the speaker. Yes, this is a piece about a funny incident with a dog, but it is a testament to the affection the speaker has for their pet, and to the joy and affirmation that a pet can bring to one’s life.
It is tragic when a loved pet passes on from our families. They do give so much to enrich our lives. Reading “Plum Mother” reminded me of the tragic truth of having a pet, as we will out live them, but loving an animal as a family member is always a gift.
(The short story “Project” by Rachel Cusk appeared in the September 1st & 8th, 2025 issue of The New Yorker.)
Photo illustration by Stephen Doyle
I am a big fan of Rachel Cusk; have been for some time now. There are a great number of reasons why I enjoy her work, and when I read anything by her, such as “Project” in this week’s New Yorker, my fandom evolves into admiration, and even a little jealously. I am not jealous of her talent as a writer, envious might be the better word for that, but when I read her work, I wish I was the type of writer that had time. Cusk’s fictional version of herself, though narrator might be a fairer description, possess the greatest gift of all; time. Time to observe and contemplate.
In “Project,” the narrator contemplates how who we are gets created. This contemplation leads to a path that bends and turns and takes us to people in the narrator’s life. First we meet M, a movie star and model. The narrator is thinking of writing M’s autobiography, which M’s response is to “…just make it up.” In this first section of the story, the narrator intertwines her interactions with M, while also speaking of a book she is reading by a woman who details the horrid abuse she suffered at the hands of her stepfather. It is a strange comparison, if not a juxtaposition. In Cusk’s assured hands, we see how these woman took their situations, fought back and went forth to create better versions of themselves, yet both spoke of a moment where their childhoods were lost… But even as I try to describe this, I am not doing this story justice. The story moves on the narrator’s partner, and his bout with an aliment and the need to a brief stay in a hospital. Then there are questions of the time we have and how we share it. Why we live the way we live and where we live…. See, not doing this justice.
This story falls into my favorite Cusk style of writing – It just flows. Maybe this type of writing is like stream-of-consciousness-lite. These thoughts and ideas have depth and weight to them, but they don’t get tangled up in minutia and tangents. All of these disparate ideas roll across the page, with observations of the life the narrator lives, but also how some of these truth and universal; Or at least there is a hope that they are. This is a story seems to be celebrating the existential gift of being able to create our self, and chose how to live out that creation. And to do all of this, to have a life that can be observed, we need time for reflection.
And through all of it, the ins and outs of this story, Cusk has a wonderful melancholic final paragraph. Not so much an observation, or a contemplation, but a memory of raising her children; when trust was tangible and innocent. That taking the time, to remember and re-experience, is a continuous step in the project of self creation.
