is arranged chrono logically, and each story is annotated with the name and dateof the publication in which it first appeared. The stories are reprinted exactly as they originally appeared, except that spellings and punctuation have been regularized in most cases.Notes1 Scott Donaldson, John Cheever: A Biography (New York: Random House, 1988), p .62.2 James Eugene 0' Hara, John Cheever: A Study of the Short Fiction (Boston: Twayne Publishers, 1989), pp .9-13.3 Ibid. p .85.IntroductionWhen John Cheever died in June 1982 at the age of seventy, his friend and fellownovelist John Updike com posed a short, unsigned eulogy for The New Yorker magazine. Updike recalled that: One could not be with John Cheever for more than five minutes without seeing stories take shape: past embarrassments worked up withwonderful rapidity into fables, present sur roundings made to pulse with sympathetic magic as he glanced around him and drawled a few startlingly concentrated words in that manner ly, rapid voice of his.This present collection of thirteen hitherto uncollected stories allowsus to watch what Updike described: stories take shape. But not that only: to watch a career take shape as well. For these stories provide a synoptic glimpse ofhis formative years, those efforts (as he called them) to discover his "singingvoice," that assured, expansive, intensely personal style we associate with themature Cheever of the 1950s and the 1960s.With the exception of "The Opportunity" pub lished in 1949, these stories date from 1931 (when Cheever was nineteen years old) up to 1942. Their settings and subject matter often correspond with his continual changes of residence during his im poverished Depression years. Thus we find three New England stories("Fall River,""Late Gathering," "Bock Beer and Bermuda Onions") that re flect memoriesof vacations he and his older brother Fred took to New Hampshire and Cape Cod in the late 1920s and early 1930s. Two ("Autobiography of a Drummer" and "In Passing") recall memories of his visits home to Quincy, Massachusetts (a town near Boston, cf. "The Teaser") during the mid 1930s. There he had discovered that hissalesman father had been laid off, his parents' marriage was crumbling fast, andthe local bank was attempting to foreclose on the family home. From 1934 on (except for several months in 1939 when he stayed in Washington, D.C., working on WPA guide books), he lived in New York City-for a while in a dive near the Manhattan waterfront so dingy that the famous photographer Walker Evans immor talizedits ambience in a photograph once featured in the Museum of Modern Art.However, Cheever, an enthusiast for the outdoors and the "perfumes of life," like "sea water and the smoke of burning hemlock," was fortunate enough toescape the city for months at a time from 1934 on, after he applied and was accepted as a resident at Yaddo (where he became a favorite guest, owing to his witand good manners). Frequent trips to the racetrack at Saratoga inspired three racetrack stories ("His Young Wife,""Saratoga," and "The Man She Loved"), all of which were published in Collier's magazine, an immensely popular (and well-paying) weekly that rivaled thethen-reigning Saturday Evening Post.