âÂÂThe Babysitterâ is a work of short fiction by Robert Coover first collected in Pricksongs & Descants (1969) by E. P. Dutton.
The story is Coover's most anthologized work of fiction.
âÂÂThe Babysitterâ is told by a third-person reliable narrator and consists of 107 unnumbered vignettes.
A teenage babysitter arrives at Dolly and Harry Tucker's house to care for their three young children, Jimmy, Bitsy and an infant. The Tuckers depart to attend a party. Jack, the babysitter's boyfriend, arrives with Mark (Mark is the son of the couple throwing the party) and they play pinball. Mark suggests they take advantage of the babysitter; Jack is uneasy, but consents, with the rationalization he can rescue his girlfriend if things get out of hand. The babysitter simply wishes to bathe the children and put them to bed and watch TV. Harry Tucker, intoxicated, schemes to return to his house on a pretext and seduce the babysitter.
The story becomes a phantasmagoria of images involving cross-dressing and voyeurism when the babysitter takes bath. Mr. Tucker arrives home to find Jack in the tub with the girl, and ejects him from the house. Or perhaps Mark and Jack drown her in the tub. Or perhaps Dolly Tucker arrives and finds all four adults in the tub. Or the infant is drowned in the bathwater. Or a strange intruder enters the house and assaults the babysitter. Everything happens, or nothing happens in these 107 variations on real or imagined events.
The story presents two endings; one in which the suburban normality is preserved, and another in which the household becomes a crime scene of mayhem and homicide.
Literary critic Thomas E. Kennedy cautions readers that âÂÂThe Babysitterâ - and other stories in Pricksongs and Descants - does not offer the âÂÂdramatic structureâ and realistic coherence expected from the short fiction of Hemingway, Faulkner or Fitzgerald. Rather, âÂÂThe Babysitterâ operates on several levels suggesting âÂÂa multitude of realityâÂÂs possibilities.â Kennedy likens the narrative to continuously flipping the channels on a TV set.
Kunzru Hari at The Guardian remarks on Coover's âÂÂfantastical funhouse of narrative possibilities.âÂÂ