Richard Yates photo

Richard Yates

Richard Yates shone bright upon the publication of his first novel, Revolutionary Road, which was nominated for the National Book Award in 1961. It drew unbridled praise and branded Yates an important, new writer. Kurt Vonnegut claimed that Revolutionary Road was The Great Gatsby of his time. William Styron described it as "A deft, ironic, beautiful novel that deserves to be a classic." Tennessee Williams went one further and said, "Here is more than fine writing; here is what, added to fine writing, makes a book come immediately, intensely, and brilliantly alive. If more is needed to make a masterpiece in modern American fiction, I am sure I don't know what it is."

In 1962 Eleven Kinds of Loneliness was published, his first collection of short stories. It too had praise heaped upon it. Kurt Vonnegut said it was "the best short-story collection ever written by an American."

Yates' writing skills were further utilized when, upon returning from Los Angeles, he began working as a speechwriter for then-Senator Robert F. Kennedy until the assassination of JFK. From there he moved onto Iowa where, as a creative writing teacher, he would influence and inspire writers such as Andre Dubus and Dewitt Henry.

His third novel, Disturbing the Peace, was published in 1975. Perhaps his second most well-known novel, The Easter Parade, was published in 1976. The story follows the lives of the Grimes sisters and ends in typical Yatesian fashion, replicating the disappointed lives of Revolutionary Road.

However, Yates began to find himself as a writer cut adrift in a sea fast turning towards postmodernism; yet, he would stay true to realism. His heroes and influences remained the classics of F. Scott Fitzgerald, Flaubert and short-story master, Chekov.

It was to his school and army days that Richard turned to for his next novel, A Good School, which was quickly followed by his second collection of short stories, Liars in Love. Young Hearts Crying emerged in 1984 followed two years later with Cold Spring Harbour, which would prove to be his final completed novel.

Like the fate of his hero, Flaubert, whose novel Madame Bovary influenced Revolutionary Road and The Easter Parade, Richard Yates' works are enjoying a posthumous renaissance, attracting newly devoted fans across the Atlantic and beyond.


“They say that we are better educated than our parents' generation. What they mean is that we go to school longer. It is not the same thing.”
Richard Yates
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“It haunted him all night, while he slept alone; it was still there in the morning, when he swallowed his coffee and backed down the driveway in the crumpled old Ford. And riding to work, one of the youngest and healthiest passengers on the train, he sat with the look of a man condemned to a very slow, painless death. He felt middle-aged.”
Richard Yates
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“Don't worry, I can't be bothered! You're not worth the trouble it would take to hit you! You're not worth the powder it would take to blow you up. You are an empty, empty, hollow shell of a woman. I mean, what the hell are you doing in my house if you hate me so much? Why the hell are you married to me? What the hell are you doing carrying my child? I mean, why didn't you just get rid of it when you had the chance? Because listen to me, listen to me, I got news for you - I wish to God that you had!”
Richard Yates
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“Wasn’t it true, then, that everything in his life from that point on had been a succession of things he hadn’t really wanted to do? Taking a hopelessly dull job to prove he could be as responsible as any other family man, moving to an overpriced, genteel apartment to prove his mature belief in the fundamentals of orderliness and good health, having another child to prove that the first one hadn’t been a mistake, buying a house in the country because that was the next logical step and he had to prove himself capable of taking it. Proving, proving; and for no other reason than that he was married to a woman who had somehow managed to put him forever on the defensive, who loved him when he was nice, who lived according to what she happened to feel like doing and who might at any time—this was the hell of it—who might at any time of day or night just happen to feel like leaving him. It was as ludicrous and as simple as that.”
Richard Yates
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“The hell with reality! Let's have a whole bunch of cute little winding roads and cute little houses painted white and pink and baby blue; let's all be good consumers and have a lot of Togetherness and bring our children up in a bath of sentimentality -- and if old reality ever does pop out and say Boo we'll all get busy and pretend it never happened.”
Richard Yates
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“Not the prettiest girl in the world, maybe, but cute and quick and fun to have around.”
Richard Yates
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“Hopeless emptiness. Now you've said it. Plenty of people are onto the emptiness, but it takes real guts to see the hopelessness.”
Richard Yates
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“Everything is selling. Nothing happens in this world, nothing comes into this world, until somebody makes a sale.”
Richard Yates
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“As an intense, nicotine-stained, Jean-Paul Sartre sort of man, wasn't it simple logic to expect that he'd be limited to intense, nicotine-stained Jean-Paul Sartre sorts of Women?”
Richard Yates
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“He was happy enough to stay in this jumbled, lively place where the drinks were cheap and the band was loud and he could feel the inner peace that comes from knowing that all your clothes are new and perfectly fitted.”
Richard Yates
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“If you haven't written a novel by the time you're forty you never will!”
Richard Yates
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“You're painfully alive in a drugged and dying culture.”
Richard Yates
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“You see? I don’t know what ‘mature’ means, either, and you could talk all night and I still wouldn’t know. It’s all just words to me, Frank. I watch you talking and I think: Isn’t that amazing? He really does think that way; these words really do mean something to him. Sometimes it seems I’ve been watching people talk and thinking that all my life. And maybe it means there’s something awful the matter with me, but it’s true.”
Richard Yates
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“So it hadn’t been wrong or dishonest of her to say no this morning, when he asked if she hated him, any more than it had been wrong or dishonest to serve him the elaborate breakfast and to show the elaborate interest in his work, and to kiss him goodbye. The kiss, for that matter, had been exactly right—a perfectly fair, friendly kiss, a kiss for a boy you’d just met at a party, a boy who’d danced with you and made you laugh and walked you home afterwards, talking about himself all the way.The only real mistake, the only wrong and dishonest thing, was ever to have seen him as anything more than that. Oh, for a month or two, just for fun, it might be all right to play a game like that with a boy; but all these years! And all because, in a sentimentally lonely time long ago, she had found it easy and agreeable to believe whatever this one particular boy felt like saying, and to repay him for that pleasure by telling easy, agreeable lies of her own, until each was saying what the other most wanted to hear—until he was saying “I love you” and she was saying “Really, I mean it; you’re the most interesting person I’ve ever met.” What a subtle, treacherous thing it was to let yourself go that way! Because once you’d started it was terribly difficult to stop; soon you were saying “I’m sorry, of course you’re right,” and “Whatever you think is best,” and “You’re the most wonderful and valuable thing in the world,” and the next thing you knew all honesty, all truth, was as far away and glimmering, as hopelessly unattainable as the world of the golden people. Then you discovered you were working at life the way the Laurel Players worked at The Petrified Forest, or the way Steve Kovick worked at his drums—earnest and sloppy and full of pretension and all wrong; you found you were saying yes when you meant no, and “We’ve got to be together on this thing” when you meant the very opposite; then you were breathing gasoline as if it were flowers and abandoning yourself to a delirium of love under the weight of a clumsy, grunting, red-faced man you didn’t even like—Shep Campbell!—and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. (p.416-7)”
Richard Yates
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“What a subtle, treacherous thing it was to let yourself go that way! Because once you've started it was terribly difficult to stop; soon you were saying "I'm sorry, of course you're right", and "Whatever you think is best", and "you're the most wonderful and valuable thing int he world", and the next thing you knew all honesty, all truth, was as far away and glimmering, as hopelessly unattainable as the world of the golden people.”
Richard Yates
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“Intelligent, thinking people could take things like this in their stride, just as they took the larger absurdities of deadly dull jobs in the city and deadly dull homes in the suburbs. Economic circumstances might force you to live in this environment, but the important thing was to keep from being contaminated. The important thing, always, was to remember who you were.”
Richard Yates
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“The whole point of crying was to quit before you cornied it up. The whole point of grief itself was to cut it out while it was still honest, while it still meant something. Because the thing was so easily corrupted, let yourself go and you started embellishing your own sobs.”
Richard Yates
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“They could lie drowsing now under the sound of kindly voices in the living room, a sound whose intricately rhythmic rise and fall would slowly turn into the shape of their dreams. And if they came awake later to turn over and reach with their toes for new cool places in the sheets, they knew the sound would still be there—one voice very deep and the other soft and pretty, talking and talking, as substantial and soothing as a blue range of mountains seen from far away.”
Richard Yates
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“you found you were saying yes when you meant no, and “We’ve got to be together in this thing” when you meant the very opposite ... and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. And how could anyone else be blamed for that?”
Richard Yates
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“How small and neat and comically serious the other men looked, with their grey-flecked crew cuts and their button-down collars and their brisk little hurrying feet! There were endless desperate swarms of them, hurrying through the station and the streets, and an hour from now they would all be still. The waiting mid-town office buildings would swallow them up and contain them, so that to stand in one tower looking out across the canyon to another would be to inspect a great silent insectarium displaying hundreds of tiny pink men in white shirts, forever shifting papers and frowning into telephones, acting out their passionate little dumb show under the supreme indifference of the rolling spring clouds.”
Richard Yates
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“Your cowardly self-delusions about “love” when you know as well as I do that there’s never been anything between us but contempt and distrust and a terrible sickly dependence on each other’s weakness- that’s why. That’s why I couldn’t stop laughing about the Inability to Love, and that’s why I can’t stand to let you touch me, and that’s why I’ll never again believe in anything you think, let alone anything you say”
Richard Yates
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“The place had filled him with a sense of wisdom hovering just out of reach, of unspeakable grace prepared and waiting just around the corner, but he’d walked himself weak down its endless blue streets and all the people who knew how to live had kept their tantalizing secret to themselves.”
Richard Yates
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“In avoiding specific goals he had avoided specific limitations. For the time being the world, life itself, could be his chosen field.”
Richard Yates
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“And they fell asleep like children.”
Richard Yates
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“She cried because she'd had such high, high hopes about the Wheelers tonight and now she was terribly, terribly, terribly disappointed. She cried because she was fifty six years old and her feet were ugly and swollen and horrible; she cried because none of the girls had liked her at school and none of the boys had liked her later; she cried because Howard Givings was the only man who'd ever asked her to marry him, and because she'd done it, and because her only child was insane.”
Richard Yates
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“The hell with this aching, suffering, callow, half-assed delusion that he was in "love" with her. The hell with "love" anyway, and with every other phony, time-wasting, half-assed emotion in the world.”
Richard Yates
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“Being alone has nothing to do with how many people are around.”
Richard Yates
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“A man could rant and smash and grapple with the State Police, and still the sprinklers whirled at dusk on every lawn and the television droned in every living room.”
Richard Yates
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“She just happened to feel like it. Wasn’t that after all, the only reason there was? Had she ever had a less selfish, more complicated reason for doing anything in her life?”
Richard Yates
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“No one forgets the truth; they just get better at lying.”
Richard Yates
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“if you don’t try at anything, you can’t fail… it takes back bone to lead the life you want”
Richard Yates
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“I want to retain my own identity. Therefore the thing I’m most anxious to avoid is any kind of work that can be considered ‘interesting’ in its own right. I want something that can’t possibly touch me. I want some big, swollen corporation that’s been bumbling along making money in its sleep for a hundred years, where they have to hire eight guys for every one job because none of them can be expected to care about whatever boring thing it is that they are supposed to be doing. I want to go into that kind of place and say, Look. You can have my body and my nice college-boy smile for so many hours a day, in exchange for so many dollars, and beyond that we’ll leave each other strictly alone.”
Richard Yates
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“she had always been ready to take off the minute she happened to feel like it ("Don't talk to me that way, Frank, or I'm leaving. I mean it") or the minute anything went wrong.”
Richard Yates
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“You want to play house, you got to have a job. You want to play very nice house, very sweet house, then you got to have a job you don't like. Great. This is the way ninety-eight-point-nine per cent of the people work things out, so believe me, buddy, you've got nothing to apologize for.”
Richard Yates
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“Are artists and writers the only people entitled to lives of their own?”
Richard Yates
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“It's a disease. Nobody thinks or feels or cares any more; nobody gets excited or believes in anything except their own comfortable little God damn mediocrity.”
Richard Yates
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“Hard work, is the best medicine yet devised for all the ills of man- and of woman.”
Richard Yates
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“People did change, and a change could be a bloom as well as a withering...”
Richard Yates
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“I still had this idea that there was a whole world of marvelous golden people somewhere, as far ahead of me as the seniors at Rye when I was in the sixth grade; people who knew everything instinctively, who made their lives work out the way they wanted without even trying, who never had to make the best of a bad job because it never occured to them to do anything less then perfectly the first time. Sort of heroic super-people, all of them beautiful and witty and calm and kind, and I always imagined that when I did find them I'd suddenly know that I Belonged among them, that I was one of them, that I'd been meant to be one of them all along, and everything in the meantime had been a mistake; and they'd know it too. I'd be like the ugly duckling among the swans.”
Richard Yates
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“He found it so easy and so pleasant to cry that he didn't try to stop for a while, until he realized he was forcing his sobs a little, exaggerating their depth with unnecessary shudders. Then, ashamed of himself, he bent over and carefully set his drink on the grass, go out his handkerchief and blew his nose. The whole point of crying was to quit before you cornied it up. The whole point of grief was to cut it out while it was still honest, while it still meant something. Because the thing was so easily corrupted: let yourself go and you started embellishing your own sobs, or you started telling about the Wheelers with a sad, sentimental smile and saying Frank was courageous, and then what the hell did you have?”
Richard Yates
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“Know what we did, Lucy? You and me? We spent our whole lives yearning. Isn't that the God damndest thing?”
Richard Yates
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“You still felt that life was passing you by?Sort of. I still had this idea that there was a whole world of marvelous golden people somewhere, as far ahead of me as the seniors at Rye when I was in sixth grade; people who knew everything instinctively, who made their lives work out the way they wanted without even trying, who never had to make the best of a bad job because it never occurred to them to do anything less than perfectly the first time. Sort of heroic super-people, all of them beautiful and witty and calm and kind, and I always imagined that when I did find them I'd suddenly know that I belonged among them, that I was one of them, that I'd been meant to be one of them all along, and everything in the meantime had been a mistake; and they'd know it too. I'd be like the ugly duckling among the swans.”
Richard Yates
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“Never say anything that doesn't improve on silence.”
Richard Yates
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“The hell with "love" anyway, and with every other phony, time-wasting, half-assed emotion in the world.”
Richard Yates
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“Wish I didn't have to go to work tomorrow", he said."Don't, then. Stay home.""No. I guess I've got to go.”
Richard Yates
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“Our ability to measure and apportion time affords an almost endless source of comfort.”
Richard Yates
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“And do you know a funny thing? I'm almost fifty years old and I've never understood anything in my whole life.”
Richard Yates
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“his job was the very least important part of his life, never to be mentioned except in irony.”
Richard Yates
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“Why did everything always change when all you wanted, all you had ever humbly asked of whatever God there might be, was that certain things be allowed to stay the same?”
Richard Yates
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“i mean talk about decadence," he declared, "how decadent can a society get? Look at it this way. This country's probably the psychiatric, psychoanalytical capital of the world. Old Freud himself could never've dreamed up a more devoted bunch of disciples than the population of the United States - isn't that right? Our whole damn culture is geared to it; it's the new religion; it's everybody's intellectual and spiritual sugar-tit. And for all that, look what happens when a man really does blow his top. Call the Troopers, get him out of sight quick, hustle him off and lock him up before he wakes the neighbors. Christ's sake, when it comes to any kind of showdown we're still in the Middle Ages. It's as if everybody'd made this tacit agreement to live in a state of total self-deception. The hell with reality! Let's have a whole bunch of cute little winding roads and cute little houses painted white and pink and baby blue; let's all be good consumers and have a lot of Togetherness and bring our children up in a bath of sentimentality -- and if old reality ever does pop out and say Boo we'll all get busy and pretend it never happened.”
Richard Yates
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