The Maple Stories

Eros Rampant & Separating

CanAm I

Table of Contents

Introduction

Background

Eros Rampant

Separating

Love

Infidelity

11

Shift of Roles

12

Parallelism

15

Connection with the Past

17

Family Communication

19

Marriage

21

Characters

24

Works Cited

27

Introduction
First published under the title Too Far to Go, The Maples Stories is an
anthologised book dating from 2009, which compiles a total of eighteen short stories
written by John Updike between 1953 and 1994.
Known to many as a writer of short stories, Updike, born in Reading,
Pennsylvania, in 1932, was an accomplished author who also published poems, novels
and memoirs, being awarded prestigious prizes throughout his career, including the
Pulitzer Prize. Belonging to the movement of Postmodernism, his literary signature was
to give the mundane its beautiful due, as he himself described it in a foreword (as cited
in Fischer, n.d.), using a metaphoric language with which the beauty of the plain and
ordinary lives he wrote about was enhanced.
Other formal aspects present in these stories are the frequent use of fragmentations
which transport the reader from one scenario to another, with no previous warning.
However, this anarchy does not handicap its understanding, but merely aids to recreate
the standard chain of thought, reflected in the narrators discourse. Similarly, the
relationship between the real and imaginary is challenged and the lines separating the two
become blurred (as seen in the dream sequence featured in Eros Rampant), so that the
frames that organize the contact between the subject and the universe are broken
(Garca Lorenzo, 2005); as a result, stereotypes are constantly subverted in both short
stories.
Through the eighteen chapters of the compilation, the development of Maples
marriage is followed to the point of decay, which the author thought to be the only
possible outcome: a marriage ends is less than ideal (as cited in Allen, 2009), and
creating, supposedly, a parallelism with his own private life.

This WASP, middle-class family, closely resembling his, consisted of Richard and
Joan Maple, as the parents, and their four children (from eldest to youngest): Judith,
Richard Jr. (Dickie), John and Bean (later called Margaret); and their three pets: two cats
(Esther and Esau) and a dog (Hecuba).

Background
The references found on both stories set the storyline in the mid 60s. With the
return of the cult to the individual after World War II, the consumerist life was in fashion
once more, as it was during the roaring 20s, and thus, the Maple family count a television,
a radio (signs of the triumph of mass communications) and a car amongst their most
luxurious goods, to which they profess their love.
Another particular feature would be their having four children, which was a result
of the baby boom period, described in American Literature After the 1900 (Garca
Lorenzo, 2005, p. 3).
On the cultural side, there are numerous references to the importance of the music
scene (best exemplified in Dickies life: Richard is in love with () the Beatles, p.
113), the emergence of drugs and their popularization ([h]e got in with the drugs crowd,
p. 117; The smell of pot in the elevator, p. 118), the natural way in which sexual matters
are presented (wed talk about my childhood masturbation, p. 123), and the Freudian
influence regarding the area of psychology which led to the commonality of
psychotherapy sessions (as ubiquitous as ether or as the libido that, Freud says,
permeates us all from infancy on, p. 119; [w]hat does your psychiatrist say about all
this?, p. 123).
The progress made by NASA in spacecraft engineering, which eventually led to
the first Moon landing in 1969, is noticeable in the several allusions to space and the
Moon (Richard adores the moon; he studies avidly all the photographs beamed back
from its uncongenial surface, p. 115; mysterious animate chasms in the surface of
space, p. 123; [t]he lunar face of the electric clock p. 126; amongst others).

Regarding political affairs, the controversial situation of Vietnam is addressed

through the character of Richard, who, in the words of his wife, takes a horrible proVietnam stand (p. 121); although, as the story progresses, when the issue arises he hears
himself sounding like a dove (p. 125). Johnsons presidency is questioned ([h]e as well
seems to love, perhaps alone in the nation, President Johnson, p. 115), and so is the threat
of communism to the US ([h]e allows that Asia is infinitely complex, devious,
ungrateful, feminine: but must we abandon her therefore? p. 125).
It is also worth noticing that the role of women does not quite fit the norm for that
period; since according to Friedans 1963 The Feminine Mystique (as cited in Garca
Lorenzo, 2005, p. 24) the contemporary society
reflected the frustration experienced by women in domestic roles that
undervalued their actual capacities, and questioned the belief system that
forced them to find reward and self-fulfillment only in the domestic sphere;
whereas Joan enjoys outdoors activities, and is even employed ([s]he has a part-time job
in a museum and returns home flushed and quick-tongued, p. 116). This, along with her
carefree sexual encounters, may refer to the Womens Liberation Movement.
There are traces, nevertheless, that pinpoint to a less progressive view, or simply
to the prevalence of racial stereotypes; but there is no certainty of whether this is the
authors voice or the characters ([h]e is white?, p. 118).
Moreover, what Garca Lorenzo defines as a quintessential Postmodern trait:
[s]kepticism about knowledge, scholarship, and information (2005, p. 9), appears
alongside an allusion to the Three-Day Week period of power shortages that took place
in England: [f]rom the papers, things sounded so much worse here (p. 181).

Finally, there is a sensitive attitude towards nature and the preservation of the
environment, whose purpose in the story is twofold: not only does it reflect the concern
with ecological matters, but it also runs parallel to the decay of the marriage, since when
the bulldozers churned a grassy, daisy-dotted knoll into a muddy plateau, and a crew of
pigtailed young men raked and tamped clay into a plane, to Richard this was an
environment congruous with his mood of purposeful desolation (p. 178).

Eros Rampant

Eros Rampant, chapter nine in the story, presents a different view on the concept
of love which is not surprising, since Eros was the Greek god of love. It sets aside its
traditional definition and creates a new understanding of it. In the chapter, its meaning is
redefined from the very beginning, providing subtle examples of what it entails for each
of the characters: Bean, the six-year-old baby, loves Hecuba, the dog (p. 113), John,
who is eight [] is in love with his Creepy Crawlers, his monster cards, his dinosaurs,
and his carved rhinoceros from Kenya (p. 113), Richard [Dickie] is in love with life,
with all outdoors [] the Beatles []. He almost certainly loves, has always deeply
loved, his older sister (p. 113), [s]he [Judith] loves, at least in the abstract, horses (p.
115), [a]nd Joan? Whom does she love? Her psychiatrist, certainly. Her yoga instructor,
probably. [] She must love the children (pp. 115-116), and Mr Maple loves Mrs
Maple. [] Also he loves Penelope Vogel, a quaint little secretary at his office. [] He
as well seems to love [] President Johnson (p. 115). Even the animals display signs of
this uncommon love: [s]he [Hecuba] runs up against the cats, who do not love her (p.
114); Esau still loves Esther, while she merely accepts him (p. 114).

Advancing through the chapter, love turns to infidelity as Mrs Maples is

revealed, which further develops the course of action. Richards reaction to this differs
from what would be expected, and instead resembles the pragmatic principle by which a
mans happiness is achieved through his familys, rather than his own thus, he remains
relatively calm and collected. Yet, this is contradicted when, later on, there is an
estrangement between the family members.

Separating

Five chapters ahead, in Separating, the couple has agreed to separate for the
summer. The chaotic atmosphere that erupts makes full contrast with the setting given by
the opening line [t]he day was fair (p. 177); and, as explained in the narrators own
words, [a]ll that June the weather had mocked the Maples internal misery (p. 177).

As their parents fight the seemingly never-ending chess battle commenced in Eros
Rampant (she, like a chess player who has impulsively swept forwards her queen, has
nowhere to go but on the defensive, pp. 121-122), the childrens reactions to the news
provide an insight into their personality and growth over the six years that have elapsed
since chapter nine. Richard sees this as a sign of hope, as he understands better the
importance of family since the separation itself involves, and will definitely affect, the
whole unit. With communication and maturity gaining significance, Richards attachment
to the past, from which he seemed unable to move on, will eventually disappear; leading
to the somewhat enigmatic question why? that puts an end to the chapter ([w]hy? []
Richard had forgotten why, p. 191) he does no longer remember the starting point of
the dissolution.

Love

The first, and probably most important aspect to consider would be love: [t]he
Maples house if full of love (p. 113). The very first line of the ninth chapter starts with
a strong statement regarding what is expected to be found within the walls of the Maples
house. Although not contradicting the said statement, the term love takes a different
notion from its traditional meaning: it is understood to be the affection towards goods or
animals, or even non-members of the family (Penelope Vogel, p. 115; [h]er [Joans]
yoga instructor, p. 115; an assistant director in the museum, p.121; etc.), yet not
towards the family unit. Another example of uncommon love being the fact that the dog,
Hecuba, shows feelings towards the cats, but these are unanswered: she (Hecuba) runs
up against the cats, who do not love her, p. 114. It is interesting to note that love is not
only understood differently amongst the human family members, but also amongst the
animals living in their home.

As said before, love must be approached in a different way within the Maple
family, to the point its meaning becomes blurred: can love be defined, simply, as the
refusal to sleep? (p. 115). In this instance as many others where Joan and Richard are
in bed, Richards thoughts circle his head, searching for, and giving him, a reason to stay
awake, while Joan sleeps: if love is the refusal to sleep, then Joan certainly does not love
him.

Furthermore, Updike has been characterised for using largely descriptive

metaphors, an example concerning love would be: Joan swims through their love like a
fish through water, ignorant of any other element (p. 116), which later connects with the
following ideas of [l]ove, a cloudy heavy ink, inundates him from within (p. 122) and
the aquarium where the Maples are swimming, dark fish in ink, their outlines barely
10

visible. These complex, yet descriptive, images shown, relate the love in which they live
to water; which later builds their house as an aquarium (a space from where they cannot
escape). At first, love being water, but later turning into ink, creates the sense of them
the Maples, being unable to distinguish between love and themselves, having a harsh
time moving around their home. Love is, indeed, a blurred and difficult concept to define.

Moreover, love does not distinguish between unrequited and reciprocate feelings,
becoming fearsome when dealing with the former: [l]ove is pitiless (p. 125). In this
case, connecting to one of the ideas of the parallelism present in the text, Richard feels
that he is no longer appealing to Joan, as she has committed adultery. Finally, reaching
chapter fourteen, Separating, Joan and Richard both agree that their children were the
reason they had not divorced, due to the fact that they both felt attached to them: [a]nd
weve always, especially, loved our children, [y]oure not little things we had []
[y]oure the whole point. But youre grown. Or almost (p. 183). It is seen how the couple
have neglected the idea of separating until their children have grown, since they are
expecting them now to understand better. Both Joan and Richard had already made
mistakes which prevented them from returning to the once tranquil life they had.

11

Infidelity

It is clear that infidelity has a big role and has caused enormous impact upon the
Maple family. Starting off, Joan has been found guilty of adultery, which had been
foreshadowed at the early beginning of Eros Rampant: [Joan] returns home flashed and
quick-tongued, as if from sex (p. 116). This later will result in a long conversation
between the childrens parents eventually evolving into a dispute: do you want to know
who I was sleeping with Wednesday? (p. 121). Another example worth mentioning
would be: Otto spelled inside out is toot and Im not Ottos only woman (p. 123).
Both quotes show infidelity. With the former it is expected to know the meaning of toot
since it strongly suggests unfaithfulness from Joan. Toot is the sound made by horns, a
pair of which being as an emblem of a cuckold (Oxford Dictionaries, n.d.). Further
into the infidelity area, Updike makes another remark about Richards lack of
masculinity, when Joan in his dream comments: [i]ts hard when men ask. You
mustnt insult their male natures (p. 126). This idea of being unable to tell no to a man,
connects to the situation Richard had when, insinuating himself to Penelope Vogel (a
secretary in his office), was rejected this shows the idea of Joan being unfaithful and
using the above quote as an excuse, as well as showing Richard as emasculated.

12

Shift of Roles

The 60s was a period of revolution, featuring the Womens Liberation Movement
amongst others. Its impact in the chapters is more clearly seen in the shift of roles,
understanding these as the roles of men and women according to the norm during the said
time. An important quote to take into account, which also summarises the state of the
relationship, would read: [d]ivorce me. Beat me (p. 122). As noted before, the main
concern here is to evaluate the shift of roles and how Updike presents them, which, by
reading the previous quote, suggest a confrontation between the couple. The idea here is
to understand that the one speaking is not Richard, but Joan, who takes the role of leader
(as in, family leader and conversational leader, who has not only started the dispute, but
also has worsen the situation by accepting to having committed adultery). Richard has
been dethroned from his role as the man and family head and is now Joan (as it is
shown throughout both chapters) who takes these roles. Once again wasting forgiveness
upon her ghostly form (p. 126), retakes the idea of Richard showing his feminine side
(he is the soft one). He is forgiving his wife for being unfaithful this also connects to the
idea, already explained, of the pragmatic approach to happiness.

The following quotes take place during the fourteenth chapter, Separating, where,
once again, roles are shifted, probably in a more graphic way: Joan came and went, in
and out of the house, calmer than she should have been (p. 180). Joan seems way out of
position regarding the upcoming series of events (the separation) with which she is
expected, as woman, to be annoyed. This belief is because, up to that time, women
married, had children and took care of the household. Losing a husband might mean that
she might not get any more chances at marrying yet we know that this is not the case for
Joan, and that she is, in fact, prepared having already assimilated the loss.

13

Richard has already been brought to be a dethroned king, and moreover, he seems
to take the role of the woman: [t]he partition between his face and tears broke (p.
181). Linked to the previous idea of the annoyance of Joan, Richard finds himself crying
and trying to embrace the loss, merely because he is still in love with Joan. Yet he errs
when committing adultery himself with another woman, in chapters in between these two.
Where Joan sat had become the head (p. 185), is probably the most descriptive quote
as far as what is going on within the walls of their home is concerned.

Further into the aspect of the shift of roles, Joan is found, once again, calmer than
expected, poorly justifying why she is not crying, or acting as a woman: I couldnt cry,
I guess because I cried so much all spring. It wasnt fair. Its your idea, and you made it
look as though I was kicking you out (p. 185). She is not only acting in an unfeminine
way, but also she happens to be washing her hands off. Characterised before as an
emasculated person, Richard finds himself wishing for things to revert to their past state
for instance, the affair he was previously said to have had: Joan, if I could undo it all, I
would (p. 187).

As the story continues, Richard has to regain his courage, as he now has to tell
Dickie about the separation. Both him and his son are greatly similar, so much so that he
expects him to react as he, himself, did, but finds his son rather calm resembling himself
when learning about Joans affairs (Richard had feared that his tears would return and
choke him, but the boys manliness set an example, p. 188).

Finally, not only the parents, but also their children, seem to be subjected to this
role exchange. When talking about their reaction upon knowing the news of their
separation, Richard said that [t]he girls [took it] pretty calmly. John flipped out (p. 189).

14

The female side acts manlier than the male one which acts rather feminine and
sentimentally.

15

Parallelism

The presence of the cats in the Maples family is, presumably, intentionally used
as a device with which to reflect on the relationship of some of the family members.
Although [t]hey had been two of a litter (p. 114) therefore, family, Esau is, humanly,
depicted as being in love with Esther, who does not correspond these feelings, being
herself sterile. This incestuous relationship most clearly resonates with the reader, who is
also told that [h]e [Dickie] almost certainly loves, has always deeply loved, his older
sister, Judith (p. 113).

On a deeper level, however, there is also an undeniable similarity between the two
cats and Mr and Mrs Maple: Esau still loves Esther, while she merely accepts him (p.
114), likewise, Mr Maple loves Mrs Maple (p. 115), but when told about whom she
loves, there is no mention of her husband. Moreover, this comparison can also be drawn
metaphorically, since Esau, sentimentally allowed to continue unfixed, now must
venture from the house in quest of the bliss that had once been purely domestic (p. 114),
which can be compared to the fact that both participants of the marriage felt the need to
find the also once-domestic bliss outside their house. Even more so, it is worth noting that
the childrens affections for both, the animals and their parents, are also split: both Bean
and John cuddle Esau more, now that Esther is sterile (p. 114), and at the same time,
they devote themselves more to their mother: [t]hey fight bitterly for a piece of her lap
and turn their backs upon their father (p. 116). This criss-crossed pattern may imply that,
in the same way that Esther was dysfunctional, so was Richard. Or simply it is the
antithesis of giving more love to the male cat, but the female human.

Further into the storyline, Joan introduces the characters of Mark and Eleanor
Dennis, who, much like Esau and Esther, and Richard and herself, are not in what would
16

be considered a two-way relationship, but once more [h]es still in love with her (p.
120), although the female counterpart has decided it to be over.

Aside from these, there is another parallel structure in Separating, where the
narrator explains how

a summer ago, as canaryyellow bulldozers churned a grassy, daisydotted

knoll into a muddy plateau, and a crew of pigtailed young men raked and
tamped clay into a plane, this transformation did not strike them as
ominous, but festive in its impudence (p. 178).

It is clear to the reader, however, that the replacement of a green field for a muddy patch
resembles how the happiness and love that once seemed to impregnate the Maples
household is now gone, and there is only emptiness and coldness to fill it.

17

Connection with the Past

Richards character is defined in Separating by his inability to move forward and
affront the new situation. He has set a number of barriers over this extended period of
waiting, and these now serve as walls to keep him from advancing: [e]ach moment was
a partition, with the past on one side and the future on the other, a future containing this
unthinkable now (p. 179). Notwithstanding, as the plot is developed, the said walls are
torn down, and his character eventually plucks up the courage to imagine the future
which, up to this point, he had been unable to (even less so the immediate one).

Hence, Updike, along similar lines, writes how he walks

[p]ast the court and a flat stretch where they used to play family baseball
stood a soft green rise glorious in the sun, each weed and species of grass
as distinct as illumination on parchment. (p. 184)

Henceforth, it becomes unclear, to a certain degree, whether the voice of the narrator
slightly echoes Richards thoughts in some instances, for it seems to be he who
remembers times they spent together when things were not so complicated. And so, he
continues dwelling on that happy past, pondering whether it would ever again be as good
as it had been that first summer (p. 185).

There is a significant change, however, after meeting Dickie, who came back from
Boston. The building up to that moment of revealing the truth to him, this final step, being
the most dreaded one. Not only because [o]f the four children, his elder son was the
closest to his conscience (p. 186), but also, because he would be the last to know, and
once he did, this separation that had been dragged secretly for months would become a
reality; one that he was not sure he would be able to get used to. Thus, as he gets ready to
18

pick him up at the station, the narrator conveys the disappointment he felt when things
seemed to go well, and there was no hindrance to this journey ([t]he car started. He had
hoped it wouldnt. [] It [the train] was on time; he had hoped it would be late, p. 187).
But once he is ready to share the news, there is a visible change of mindset; and to his
sons statement: [t]hey [the eye drops] didnt do any good last summer, he replies that
[t]hey might this (p. 188). Despite its content having no relation to his situation
whatsoever, it is interesting how he realises that events of the past do not determine their
possible outcome in the future. This mentality is, by the end of the chapter, so rooted in
him that it seems he no longer remembers the past that has been torturing him: [w]hy.
[] The waiting white face was gone, the darkness was featureless. Richard had forgotten
why (p. 191) the ghost of his past, embodied in the waiting white face, has disappeared;
he cannot recall what it was that triggered the dissolution of his marriage. Now that the
past seems submerged in darkness, it might be safe to assume that the future is where the
lights are on.

Finally, it should be noted that, as already commented, the voice of the narrator
seems to fuse with that of Richard. And so, this dance back and forth with the past and
the future is also reflected in the narration and more specifically, in how the narrative
voice addresses Margaret. Although on page 182 it is said that she was no longer called
Bean, the next paragraphs [t]hen he heard Bean cry strike one as a jump back in time.
This, however, is rectified on the same page (Joan and Margaret), only for it to be
changed back four pages later (p. 186) when taking about Beans mute staring.

19

Family communication

Stepping further into the Maple family, communication issues appear for its
absence rather than misunderstandings. Updike has presented a family who, instead of
talking amongst themselves, takes a more individual and detached position. To have
reverted to the bases of their marriage, to the elemental constituents. Woman. Man.
House (p. 123), Joan and Richard feel that they no longer exemplify a happy family,
arriving at the conclusion that it is their marriage that keeps them together; there are
serious communication issues between them.

Notwithstanding, there are still

conversations, although only to decide whether they are to separate before or after
summer (Joan had insisted they wait until the four children were at least assembled,
p.177); being so unpleasant a talk, that they require alcohol to withstand it: in the string
of gray dialogs over coffee, over cocktails, over Cointreau that had shaped the strategy
of their dissolution (p. 177).

This matter does not only concern both parents, it is seen also amongst their
children: [t]hey became, his tears, a shield for himself against the others, [h]is children
tried to ignore his tears (p. 181). Even though it might seem as a mature gesture by the
children, it is also understood as the lack of empathy not only in the childrens attitude,
but also in their parents: Richard tried to focus on the childs [John] sad year (p. 185),
which, can be inferred, he had not done before at least not for a long time.

On a final note, it is worth pointing out that Richard, after having a serious
conversation with his family, from which he regained hope and saw how necessary it was
to simply pay them attention, becomes more sentimental when having to depart from their
side: [g]uiltily, he realized he did not feel separated (p. 186). Also, the key word

20

guiltily, as seen in previous examples, suggests that he also committed some kind of
unforgivable action, which will prevent him from reuniting with Joan.

21

Marriage
As previously established, the cats behaviour greatly simulates that of Mr and
Mrs Maple. Following that line, it is worth drawing some attention to the way in which
the cats act at the beginning and end of chapter nine: [t]hey [the cats] sit like bookends,
their backs discreetly touching, an expert old married couple on the dole (p. 114) which
differs from [the cats are] sitting like bookends, expectant and expert (p. 128). It is
curious that such a resourceful writer would repeat, almost exactly, the same sentence
twice in the chapter, referring to the same characters, and only making punctual
modifications. This suggests there is something about this change which is of
significance; and having said the cats behave like their owners, these can be understood
as the transition from being in love ignorant of any faults in their marriage, and just
passively waiting to being in a state of paranoia feeling in danger and ready to jump
back; which is how Richard feels, mad in the search of clues. Incidentally, these clues,
which he identifies to be the tacked-up drawings done by childrens fingers ardently
bunched around a crayon, of houses, cars, cats and flowers (p. 128), also transport the
reader to the beginning of the same chapter, where virtually the same sentence is ([l]ove
slows her footsteps [] in the form of tacked-up childrens drawings of houses, families,
cars, cats, dogs, and flowers, p. 116). This shows how their childrens love, which was
directed to Joan, rather than Richard, turned into a knife; perhaps for him this was the
final proof of Joan not really loving him, but the concept of a family after all [y]oure
[the children] the whole point (p. 183).

This already commented state of paranoia that Richard felt himself in after his
wifes confession, considerably weakened the marital union to the greatest point of

22

distrust, best illustrated at the party (her nakedness is only in his eyes, p. 124). Although
afterwards, there is a reassurance of his value as a man and a husband:
she confides to him that [] nowhere, never, has she encountered his,
Rickards, passion, his pleasant bodily proportions and backwardsreeling
grace, his invigorating sadism, his male richness. (p. 126)
In spite of it all, he still asks [t]hen why? (p. 126), which indicates that he might
suspect she is lying; otherwise, why would she be unfaithful if no one could meet his
character?

Yet, truthfully, he is weak and appears as metaphorically emasculated, hence her

being in control of the situation after all events and confessions had unfolded. Her plan
turned one hurdle for him into four four knifesharp walls, each with a sheer blind drop
on the other side (p. 179); the relationship has turned into some sort of dictatorship in
which Richards opinions are disregarded and hers are ones valid. Besides, she does not
conform to just holding the reigns, but also intends to make him, we can infer, as
miserable as possible, elongating the departure and the revealing itself, so as to multiply
his agony.

Regardless, he still feels as a vital part of the family unit, and the narrator reflects
upon his importance with the symbol of the lock:

[h]e had still to replace a lock [...]. The old lock, aluminium frozen by
corrosion. [...]The bushes already needed pruning, the windward side of the
house was shedding flakes of paint, rain would get in when he was gone.
Insects, rot, death. His family, the family he was about to lose. (pp. 179180)
23

Richard, then, starts to realise, whilst replacing and old lock, how things that, presumably,
he used to take care of will be disregarded. And how this can mean a threat (in either a
minor or major scale) to the family he still cares for.

But this tone appears as long forgotten a few pages ahead, when probably seconds
before telling Dickie about the separation, he already thinks about [t]he home of the
woman Richard hoped to marry (p. 189), showing the greatest character development
(along with the ending of the chapter). This proves that he was, at this point, no longer
looking back, but imagining the future which had seemed so implausible at the
beginning.

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Characters
It is clear that John Updikes style was that of letting the dialogues define the
characters, and not giving explicit psychological descriptions of them. The quotes,
therefore, prove themselves to be a reliable source from which to extract this information.

Firstly, the most complex character, Richard, features traits of love towards his
family (Mr Maple loves Mrs Maple, p. 115) and banal matters ([h]e as well seems to
love [] President Johnson, p. 115), and, simultaneously, cold-hearted unfaithfulness
([a]lso he loves Penelope Vogel, a quaint little secretary at his office, p. 115).
Furthermore, the reader is afforded a glimpse towards his ideology ([d]id you offend her
with your horrible pro-Vietnam stand?, p. 121), although this later changes as his
character is developed and seems to mature: [w]hen the usual argument about Vietnam
commences, he hears himself sounding like a dove, and [h]e concedes that Johnson in
unlovable (p. 125). This growth of his character is not only for the better, however, for it
also entails a great state of paranoia in which he finds himself when searching for signs
of criminal entry, for traces of his dream (p. 128) from which it can be inferred his
unbalanced mentality.

Joan is presented as a mother who cares for her children, but not her husband. She
loves [h]er psychiatrist, [h]er father, [h]er yoga instructor, and the children (pp.
115-116). This love she professes becoming, in some instances, incestuous: [Judith]
French-kisses her mother good night (p. 114)
The eldest child, Judith, resembles her father in that she is a proud American (I
was anxious to come home. Im an American, p. 181). But that is the only aspect where
some similarities between the two can be drawn. She appears to be quite mature

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particularly in Separatingwhere she is clever enough to let her parents resolve their
conflict for themselves, and so, when Richard breaks down at the table, she avoids a
childish intervention and resorts to smoking instead (Judith lit a cigarette, p. 181),
which goes to show her character as a grown-up woman. Moreover, her reaction to the
news: I think its silly. You should either live together or get divorced (p. 183),
reinforces this personal growth she has undergone over the six-year lapse.

Dickie, on his part, showed the same collected attitude that also his sister Margaret
shares (and with which he genuinely shocked his father) upon learning the truth. Instead
of an enraged slam of the doors to be expected, these closed normally, gently. The sound
was sickening (p. 190). This, however, must not be mistaken for coldness or
estrangement, for Updike explores him as an emotional character as well; providing the
reader with one of the most sentimentally-charged scenes: Richard bent to kiss an
averted face but his son, sinewy, turned with and with wet cheeks embraced him and gave
him a kiss, on the lips, passionate as a womans (p. 191).

John, on the other hand, is portrayed as a child who still throws tantrums when
events do not unfold the way he wishes. That is, when Richard tells him that now that the
children are grown the parents themselves do not feel as guilty separating ([y]oure the
whole point. But youre grown. Or almost, p. 183). He acts like the child he is not
supposed to be any more desperately seeking his parents attention: they had never seen
him smoke; being good had been his way of setting himself apart (p. 183). We draw
conclusions from the events that develop thereafter, that he is a teenager going through
many changes and discomforts in his life that make it seems harder than it actually is.
Contrary, despite Margarets youth she seems to be very mature. Aside from the
fact that she suspected her parents separation and did not overreact to it, her reply to the
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verification of her conjectures was just a faintly dramatized exclamation ([o]h. nooh!), p. 182. The idea of her maturity is also conveyed in the change of names from
being Bean, the baby, to Margaret, the woman (Margaret, no longer called Bean, p.
182).

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Works Cited

Allen, Brooke. The Maples Stories by John Updike (2009). Web. 26 September 2015
< http://www.barnesandnoble.com/review/the-maples-stories >.

Fischer, Mike. A Marriage of Updike: Volumes collect tales of his colorful couple, his
last short stories (2009). Web. 25 September

2015.

< http://www.jsonline.com/entertainment/arts/47876852.html >.

Garca Lorenzo, Mara M. American Literature After 1900. Madrid: UNED, 2005.
Hewitt, Avis. Faith and Fundamental Anxiety' in John Updike's The Maple Stories
Faculty Scholarly Dissemination Grants. Paper 36. 2010. Web. 25 September
2015 < http://scholarworks.gvsu.edu/fsdg/36 >.
Horn. Oxford Dictionaries. Oxford University Press, n.d. Web. 27 September 2015.
< http://www.oxforddictionaries.com/definition/english/horn >.

Moyer, Steve. John Updike Biography, n.d. Web. 23

September 2015.

< http://www.neh.gov/about/awards/jefferson-lecture/john-updike-biography >.

Updike, John. The Maple Stories. New York: Alfred A. Knopf, 2009.

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