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Marc Goodman
Instructor Thwing
Writing 102
15 July 2009
“And the Door Heaves Itself Open”: Sammy’s Line of Flight in John Updike’s
“A&P”
In his essay “On the Superiority of Anglo-American Literature,” the French philosopher
Gilles Deleuze writes, invoking D. H. Lawrence, “The highest aim of literature, according to
Lawrence, is “To leave, to leave, to escape …to cross the horizon, enter into another life”
(Deleuze, Dialogues 36). Further on in the essay, Deleuze continues, “Anglo-American literature
constantly shows these ruptures, these characters who create their line of flight, who create
through a line of flight” (Deleuze, Dialogues 36). Sammy, the young checker who narrates John
Updike’s “A&P,” is already in flight as “A&P” begins and his flight continues as the story
concludes. While Deleuze and his occasional collaborator Felix Guattari have had much to say
about lines of flight across their work, the list of characteristics that Deleuze summons forth in
“On the Superiority” will suffice to orient Sammy’s flight in “A&P,” “departure, becoming,
passage, leap, daemon, relationship with the outside” (Deleuze, Dialogues 36).
Sammy is stationed in the “third check-out slot” when he begins his narration and he will
not move from that position until the dramatic events which conclude the story (Updike 596).
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Deleuze reminds us “flights can happen on the spot, in motionless travel” and citing the historian
Arnold Toynbee’s study of nomads, speaks of those “who are immobile with big strides” as “the
greatest inventors of new weapons” (Deleuze, Dialogues 36-37). What are Sammy’s weapons as
he takes flight from behind the cash register? They are the language that he uses to tell this story
and the affective alliance he forms with the girls as they move through the store.
In his essay “He Stuttered,” Deleuze remarks that “great authors” are those who “invent a
minor use of the major language within which they express themselves entirely” (Deleuze,
Essays 109). The key to their greatness is that they “make the language take flight” and “send it
racing along a witch’s line…following an incessant modulation” (Deleuze, Essays 109). It is the
“great writer” who “carves out a nonpreexistent foreign language within his own language. He
makes the language itself scream, stutter, stammer, or murmur” (Deleuze, Essays 109, 110). The
language that Updike has invented for Sammy evinces sexual longing and a sullenness shot
through with contempt. Despite its colloquial ease, it screams displeasure and distaste.
Sammy’s strongest expressions of contempt are reserved for the customers who shop at
the A&P, the “cash-register-watchers,” “the sheep pushing their carts down the aisle,” and the
“houseslaves in pin curlers.” (Updike 596, 597, 598) The class comparisons that Sammy draws
with the girls later in the story strongly suggests that Sammy is of the same socio-economic
status as the store’s regular shoppers. This would account for the intensity with which Sammy
tries to separate himself from the herd. Consciously or not, he has begun to pry himself free with
The first object of Sammy’s derision is the customer whose “box of Hi Ho crackers”
Sammy mistakenly rings up twice, momentarily distracted by the girls’ arrival in the store.
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Sammy is withering in his description: “a witch about fifty with rouge on her cheekbones and no
eyebrows, and I know it made her day to trip me up” (Updike 596). After getting “her feathers
smoothed and goodies into a bag,” he subsequently muses: “if she'd been born at the right time
they would have burned her over in Salem” (Updike 596). Somewhat more comically but still
dismissively, Sammy comments on the general indifference of the average A&P customer by
noting:
I bet you could set off dynamite in an A & P and the people would by and large
keep reaching and checking oatmeal off their lists and muttering "Let me see,
there was a third thing, began with A, asparagus, no, ah, yes, applesauce!" or
Sammy’s scorn extends beyond the shoppers to the goods on the shelves too: “records at
discount of the Caribbean Six or Tony Martin Sings or some such gunk you wonder they waste
the wax on, six-packs of candy bars, and plastic toys done up in cellophane that faIl apart when a
kid looks at them anyway” (Updike 599). Even Sammy’s cash register is given a sardonic voice:
"Hello (bing) there, you (gung) hap-py pee-pul (splat)!"—the splat being the drawer flying out.
(Updike 600).
It is with the arrival of the girls that Sammy senses another possibility for escape. This
event occasions a striking shift in language at those times when Sammy speaks directly about the
girls. There is a distinct softening of tone that borders on tenderness. From the moment the girls
enter the store, Sammy’s attention is riveted. He scrutinizes their appearance and their every
move. He confesses to obvious stirrings of attraction: “I mean, it was more than pretty”
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(Updike 597). In a voice exuding enchantment, Sammy follows the girls “up the cat-and-dog-
food-breakfast-cereal-macaroni-rice-raisins-seasonings-spreads-spaghetti-soft drinks-crackers-
and-cookies aisle” until the point at which “they shuffled out of sight behind a pyramid of Diet
Delight peaches” (Updike 597, 598). Before declaring, “The whole store was like a pinball
machine and I didn't know which tunnel they'd come out of,” Sammy will announce an
additional affective alliance: “Poor kids, I began to feel sorry for them, they couldn't help it.”
“emergent unities that nonetheless respect the heterogeneity of their components” and mentions,
parenthetically, “Deleuze’s favorite example, the wasp and orchid create a ‘becoming’ or
symbiotic emergent unit” (Smith and Protevi). Sammy’s line of flight is effected, in part, by the
assemblage that is created through the affective alliance he forms with the girls. The affects he
draws upon, which already involve erotic attraction and pity, will come to include the “scrunchy
inside” feeling Sammy experiences upon “remembering how [his boss, Lengel] made that pretty
girl blush” (Updike 601). It is the strength of this assemblage, however temporary, which powers
Sammy through his confrontation with Lengel and out the door of the A&P.
The story “A&P” concludes with Sammy admitting “my stomach kind of fell as I felt
how hard the world was going to be to me hereafter” (Updike 601). Deleuze himself concedes
the ambiguity of the line of flight when he asks: “What is it which tells us that, on a flight, we
will not rediscover everything we are fleeing?” (Deleuze, Dialogues 38). While conceding that
But it is this that can only be understood on the line, at the same time as it is
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being traced: the dangers which are courted, the patience and precautions which
must go into avoiding them, the corrections which must constantly be made to
extract the line from the quicksands and the black holes. (Deleuze, Dialogues 39).
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Works Cited
Deleuze, Gilles, and Claire Parnet. Dialogues II. New York: Columbia University Press,
2002.
Smith, Daniel, and John Protevi. "Gilles Deleuze." The Stanford Encyclopedia of Philosophy
(Fall 2008 Edition), Ed. Edward N. Zalta. 15 July 2009
<http://plato.stanford.edu/archives/fall2008/entries/deleuze/>.
Updike, John. The Early Stories 1953-1975. New York: Alfred A. Knopf, 2003.
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Works Consulted
Ansell-Pearson, Keith. "Out of this World: Deleuze and the Philosophy of Creation. " Rev. of
Out of this World: Deleuze and the Philosophy of Creation, by Peter Hallward. Contemporary
Political Theory 6.4 (2007): 487-491. General Interest Module, ProQuest. Web. 14 Jul. 2009.
Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism And Schizophrenia.
Minneapolis: University of Minnesota Press, 1987.
Deleuze, Gilles. Negotiations 1972-1990. New York: Columbia University Press, 1995.
Hallward, Peter. "Deleuze and the World Without Others." Philosophy Today 41.4 (1997): 530-
544. Research Library Core, ProQuest. Web. 14 Jul. 2009.
Hallward, Peter. Out of this World: Deleuze and the Philosophy of Creation. New York:
Verso, 2006.
Jameson, Fredric. "Marxism and Dualism in Deleuze. " The South Atlantic Quarterly
96.3 (1997): 393-416. Research Library Core, ProQuest. Web. 14 Jul. 2009.
Parr, Adrian. The Deleuze Dictionary. New York: Columbia UP, 2005.
Smith, Daniel W. "The Inverse Side of the Structure: Zizek on Deleuze on Lacan. " Rev.
of Organs Without Bodies: Deleuze and Consequences, by Slavoj Zizek. Criticism: A Quarterly
for Literature and the Arts 46.4 (2004): 635-650. Humanities Module, ProQuest. Web. 14 Jul.
2009.