49 pages • 1 hour read
I Am the Cheese centers on the experience of constructing and manipulating identity, emphasized by the enigmatic identity statement of the title. The novel, and its title, show that identity is fragile. The signs of this fragility are revealed in Adam’s memories and imagined journey in ways that prefigure the revelation that his identity has been eroded by his real situation of incarceration and corrupt medical “treatment.” Adam’s disillusionment and identity anxiety increase as he learns that people may have to change who they are or discover they’re not who they thought they were. He also begins to perceive that outside influences can also twist a person’s identity: Documents and other people can transform a person. The novel creates two birth certificates for Adam, prefiguring his later dual or dissociative psychological states, and the dual structure of his real and imaginative narratives. When Adam first learns about his false identity, his emotional response sets up his later identity confusion: “Adam Farmer was only a name, words, a lesson he had learned here in the cold room [….] His name might as well have been Kitchen Chair. Or Cellar Steps” (92-93).
In finding that his name is false, Adam feels that his name is therefore meaningless or arbitrary. Associating himself with inanimate objects expresses his sense of disorientation and also his lack of agency. It echoes his statement “I am the cheese” (229). As the narrative will come to show, Adam’s identity is controlled by powerful forces and can be removed—“terminated” or “obliterated,” as Brint says. Adam Farmer is neither Adam Farmer nor Paul Delmonte but only the dehumanized “Subject A.”
Adam increasingly dissociates in this way. During an exchange between Adam and Brint, the narrator notes, “[Adam] had stepped outside himself, departed, gone from this place and was outside looking in, watching himself and the doctor, if he was a doctor” (29). Adam turns into an “is” or a spectator. After he realizes the motel has closed down, Adam becomes an “is” again, admitting, “I realize that the sound I hear is me. I am screaming and I can’t stop” (210). Adam’s dual identity is a result of trauma, and the novel shows his psychological state breaking through from one layer of narrative identity (the Adam of the transcript) into the other (the Adam of the bike journey).
The main motive in the novel for constructing identity is survival, as portrayed by the Farmer family. Alternatively, the main motivation for manipulating it is power and control, as shown by the corrupt forces of Grey and Brint. The interplay between these two motivations is central to the narrative’s suspense and conflict, especially as it becomes clear that the Farmers’ new “safe” identities have made them subject to control and manipulation. The adoption of new identities are a challenge, the macrocosm to Adam’s challenging bike journey. Dave can’t be a journalist anymore, and Louise doesn’t feel like she can have a robust existence, telling Dave, “That’s just what we’re doing: surviving, not living” (127). Adam’s parents established complex lives under their first identities. As Adam was around three when he changed names, he never created a meaningful identity as Paul Delmonte. What jars him is the discovery that his parents were different people: They acted differently and did different things. However, by the end of the novel, Adam’s life is severely curtailed by his new identity: He is trapped in reality as well as figuratively. His situation is the epitome of his mom’s earlier words, “surviving, not living” (127).
No one’s identity is secure in the novel, and powerful people like Grey change identities. He goes from “the gray man” to Mr. Grey to #2222. Dave thinks Grey treats them like puppets, but Grey is something of a puppet, and Brint controls his strings in the final report. Whether Grey retains his identity as a member of the Department of Re-Identification is up to Brint. Brint also declines to reveal his identity and status to Adam, showing that control of identity is associated with wider power.
I Am the Cheese creates a sustained feeling of suspense and dread through the patterning of constant threats and fears. The novel’s focus on the human impact of this stress, especially on Adam, is key to its purpose as a psychological thriller. These threatening patterns echo across the novel’s layered narratives, building tension and creating connections to reveal their significance to the plot. Threats and fears are also used as a way to foreshadow significant events or allude to Adam’s real situation in advance of revelations in the narrative.
Adam and his family twist their identities due to their life-and-death situation. Anthony Delmonte must become Dave Farmer: People want to kill the former, but they don’t want to destroy the latter. Anthony’s wife and son also must become different people because their connection to him exposed them to the same lethal threats.
Yet these new identities create different fears and threats. As the theme’s name indicates, fears and threats are ever present. Louise reveals the nonstop danger when she tells Adam about “the Never Knows,” explaining, “[I]t’s never knowing what’s going to happen, that’s the worst thing […] your father and I knew—we still know—that there are no guarantees” (171). Safety is beyond the grasp of the Farmer family, and Adam’s parents inevitably look out for threats. On the way to the library with Adam, Dave spots an unknown threat, pushing him and Adam into the woods. Louise worries every car on their street or every person at the grocery store could be a threat. They’re surviving, but the constant fear prevents them from pursuing dynamic lives. The dramatic irony of the threat here is that the Farmers are looking in the wrong place: It is their minders who will prove fatal to them. This irony is key to the layering of dread that the novel creates, and to its presentation of a world in which trust is often misplaced.
In I Am the Cheese, the world comes across as fundamentally precarious. This, as the novel reveals, is because the world of the journey is Adam’s imagined world, expressive of his distress. As the older man at the gas station tells Adam, “It’s a terrible world out there. Murders and assassinations. Nobody’s safe on the streets. And you don’t even know who to trust anymore. Do you know who the bad guys are?” (18). Edna reinforces the older man’s bleak assessment when she tells her husband, “I’m not very comfortable with strangers in my car” (115). Violence and mistrust define Adam’s world, and the reader increasingly understands this as a reflection of his personal experiences.
The novel does occasionally present trustworthy characters. Adam is an admirable person, and so are his dad and mom, but their trustworthiness is associated with vulnerability as it leads them to be manipulated. Strangers aren’t automatically harmful either: Arnold and Arthur are strangers who are kind to Adam. These strangers, however, are part of Adam’s imaginative world and represent aspects of his own identity (Adam, “Subject A” is Amy, Arnold and Arthur). In the dark world of the novel’s reality, Adam’s world is populated only by those who wish to coerce and control him.
Adam’s bike journey is both a metaphor for his psychological state and expressive of it, as it becomes clear that the journey is in his imagination and is a story of escape that he tells himself. The novel’s cyclical structure suggests that Adam is trapped in a psychological loop and that the journey continues to exist for him as a parallel place of refuge. It is both a sign of his distress and an escape from it. The journey itself and its reprise at the end of the novel highlight human persistence and resilience.
The opening premise is that Adam bikes from Monument, Massachusetts, to Rutterburg, Vermont, to visit his dad in the hospital. At first, readers think the journey is real, and to complete it, Adam requires persistence. He experiences many setbacks, but he doesn’t let the challenges defeat him. Though he contemplates giving up, he doesn’t surrender—he keeps going. Stuck in the rain, Adam screams at himself, “I’m going back.” He answers, “No, you’re not” (86). Adam taps into an inner strength, and the journey continues.
As fears and threats mark the world, hardship and harassment are all but inevitable. Yet Adam doesn’t let the inimical world upend his progress. He confronts the dog in front of the abandoned house, and after Whipper and his two friends push him into a ditch, Adam, with help from Arnold, gets out of the ditch and continues. Journeys aren’t easy: If a person goes on a journey, they’ll need willpower and resilience, and Adam possesses both traits—he persists.
The discovery that Adam created the journey doesn’t automatically undercut the theme. Like identities, journeys are mutable and layered. Arguably, Adam still went on a journey. Physically, his journey isn’t as impressive: He didn’t bike from Massachusetts to Vermont, but he was still on his bike, pedaling around the hospital grounds. To go on his real journey (biking around the hospital), he had to show persistence. At the hospital, people challenge him. The antagonists he encounters on his invented journey derive from people who vex him at the hospital. As Adam doesn’t let them keep him off his bike at the hospital—he continues to demonstrate tenacity.
The tape transcripts represent another journey. Brint tells Adam, “I would act merely as a guide. I would not take you to places where you do not wish to venture, into territory you do not wish to invade” (22). The diction turns the interrogation into a journey, with Brint acting as the adventure’s imputed leader. As with the bike ride, Adam demonstrates persistence. Though Brint possesses the power, Adam doesn’t always yield to his demands. He pushes back by refusing to speak, not eating, and not taking medicine. Some of the transcripts only consist of Brint trying to elicit speech from Adam. Brint says, “You look alert this morning. Eyes bright. Flesh tones normal. How do you feel?” (110). As Adam doesn’t reply, he doesn’t surrender to Brint’s authority. Yet persistence doesn’t guarantee survival. As Brint recommends “termination” and “obliteration,” he seems to have total control. Yet, Adam’s journey starts again after this, suggesting that the resilience of Adam’s inner life has continued.
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By Robert Cormier