Young Hearts Crying by Richard Yates

I’ve written before about Richard Yates, a writer with an innate ability to understand his characters’ failings and self-delusions, portraying the bitter cruelty of their dashed dreams with real insight and humanity. In this, his penultimate novel, Yates offers us another riff on this theme by focusing on a young couple, Michael and Lucy Davenport, just starting out on their lives together in 1950s New York.

While Lucy’s family are very wealthy, Michael refuses to live off his wife’s money, preferring instead to pursue his ambitions as a writer, supplementing his income with a mindless job in a publishing house. At the start of the novel, Michael and Lucy seem very much in love with one another, but all too soon the marriage begins to stagnate and sour. Michael generates some interest in his work with an early collection of poems – particularly his best piece ‘Coming Clean’ – however, he struggles to repeat the success. Meanwhile, Lucy is becoming increasingly frustrated with their second-rate living conditions, knowing full well that her fortune could buy them a more comfortable lifestyle. Comparisons with their friends, the Nelsons, only make matters worse for the Davenports, particularly given Tom Nelson’s success as an artist with pieces in some of the leading galleries in New York.

By the end of the first section of this three-part novel, the Davenports’ marriage is over, leaving Michael with little idea of what to do next.

He left the house, slamming the kitchen door, and made his way up past the extravagance of Ben Duane’s flower beds. But once he was at his desk he couldn’t lift a pencil or even see straight. He could only sit with half his fist in his mouth, breathing hard through his nose, trying to comprehend that the bottom had dropped out of everything. It was over.

He was thirty-five, and he was as frightened as a child at the thought of having to live alone. (pp.116-117)

In the second and third sections of the novel, we learn what happens to Lucy and Michael following the split. Lucy fares better than Michael in this respect, pursuing various creative activities in an effort to find herself. As the months slip by, Lucy dabbles in acting, taking the role of Blanche DuBois in a local production of A Streetcar Named Desire; she joins a creative writing class, drawing on some of her own experiences to produce some promising short stories; finally, Lucy tries her hand at painting, but with limited success – in truth, her works are naïve and amateurish. There are various affairs and relationships along the way, most of which are short-lived, just like her passionate liaison with Jack Halloran (aka Casimir), the enigmatic director of the theatre group.

Later still, when she lay on her bed and gave in at last to the kind of crying Tennessee Williams described as “luxurious,” she wished she had allowed him to write down his name. Casimir what? Casimir who? And she knew now her nice little curtain-line about Stanley Kowalski had been worse than cheap and spiteful – oh, worse; worse. It had been a lie, because she would always and always remember him as Jack Halloran. (p. 181)

Michael, for his part, continues to pursue his literary ambitions, but once again with limited success. His early life post-Lucy is characterised by periods of instability and mental illness, culminating in a spell in Bellevue, a specialist psychiatric hospital in New York. In time, Michael finds some solace in the form of a new, much younger wife, Sarah Garvey, a guidance counsellor at his daughter’s school, but he never seems truly contented.

Meanwhile, the Davenports’ daughter, Laura (aged nine at the time of her parents’ separation) is becoming increasingly disconnected from the world, eventually leaving her home with Lucy to join a hippy commune in California.

The novel closes on a more optimistic note with a meeting between the two Davenports. By now, Lucy is in a good place in life, gaining fulfilment from her new role as an ambassador for Amnesty International. There is a sense that she at least has stopped chasing after the pursuit of artistic fulfilment, possibly in the realisation that it might be hopelessly beyond her talents. For Michael, the situation is more ambiguous; his imminent move to a new teaching job in Boston may lead to the break-up of his second marriage; however, he seems relaxed about the future, still harbouring ambitions of another success to rival ‘Coming Clean’. As for his relationship with Sarah, there is a sense of que será, será – whatever will be, will be.

In writing this novel, Yates gives us an insight into the frustrations and disappointments of a suburban existence, of young hopes eroded by the crushing realities of life. The sections focusing on Lucy’s experiences are particularly good, illustrating once more this author’s undoubted skills in portraying complex, flawed women in ways that feel both perceptive and humane.

While the novel lacks the dramatic tension of Revolutionary Road, it is still very much worth reading for the nuanced characterisation alone. Probably one for Yates completists rather than newbies, who might be better starting with The Easter Parade, or possibly the short story collection Eleven Kinds of Loneliness. Irrespective of the changing times, Yates is a writer whose work still stands up today; the emotions he captures in these books are enduring and timeless.

(Revolutionary Road was a pre-blog read for me, hence the lack of review – but you can find Max’s excellent post on the novel here.)

Young Hearts Crying is published by Vintage Books; personal copy.

Recent Reads – Philip Larkin and Richard Yates

As quite a few of you seemed to enjoy my last round-up of ‘recent reads’ back in August, I’ve decided to do another one – this time focusing on novels by Philip Larkin and Richard Yates.

Jill by Philip Larkin (1946)

A couple of years ago, I read and really loved Larkin’s second novel, A Girl in Winter. While Jill – his debut novel – isn’t quite as good as Winter, it still makes for very interesting reading, particularly given its depiction of student life in the early years of WW2.

In essence, the novel focuses on John Kemp, a socially awkward young man from a Northern, working-class background who wins a scholarship to Oxford University to study English in 1940. Struggling to fit in with his rather arrogant upper-class roommate, Christopher, and the public-school set who surround him, John invents an imaginary sister, Jill, in order to embellish his own life in the face of others. However, things get complicated for John when he meets, Gillian, the fifteen-year-old cousin of one of Christopher’s friends, and the boundaries between the imaginary Jill and the real-life Gillian begin to blur.

While Jill starts very strongly, it loses a bit of momentum in the middle and then fizzles out a little towards the end leaving one of two questions hanging in the air. Nevertheless, these are relatively minor criticisms in the scheme of things – the novel is beautifully written and very sensitively conveyed. Where it really excels is in the portrayal of a shy, isolated young man who finds himself in a totally unfamiliar environment, one in which all his peers seem so confident, socially comfortable and self-assured.

A dismal melancholy was beginning to expand inside him, a great loneliness. It was the knowledge that he had nowhere to go more friendly, more intimate than this room that depressed him so, and particularly because the room was not his alone. He could not fortify himself inside it against the rest of the strangeness, for at any moment Christopher Warner and Patrick might come in and make coffee in his coffee-pot or break one of his plates through trying some balancing trick. He had hoped that at least there would always be his own room, with a fire and the curtains drawn, where he could arrange his few books neatly, fill a drawer with his notes and essays (in black ink with red corrections, held together by brass pins), and live undisturbed through the autumn into the winter. This was apparently not to be. (p. 17)

There is some excellent characterisation here, particularly in the creation of the rowdy, egotistical Christopher and his snobbish friends. Moreover, the novel is full of marvellous details and observations about the minutiae of student life in Oxford at the time: the inevitable tensions that arise when mismatched boys have to room together; the cribbing and last-minute preparations that ensue when essays are due; and the pilfering of items from other boys’ cupboards, especially when there is cake to be sourced for afternoon tea. (The scene where John arrives at his room in Oxford features a terrific set piece.) While the War remains mostly in the background, there is one major interruption which serves to demonstrate that the horrors of death and destruction are never far away.

Overall, this is a moving, sympathetic novel of a boy for whom certain aspects of life remain largely out of reach. Definitely recommended.

A Special Providence by Richard Yates (1969)

No other writer captures the pain of loneliness and disillusionment quite like Richard Yates. It seems to me that he understands his characters’ self-delusions, portraying the cruelty of their false hopes and dashed dreams with real insight and humanity.

In this, his second novel, Yates explores the lives of a single mother, Alice Prentice, and her only son, Bobby, as they try to eke out some kind of existence for themselves in 1930-40s America. The book itself is split into three main sections, the middle one focusing on Alice, a rather sad, delusional woman who toils away needlessly at her sculptures in the hope of becoming a famous artist, perpetually just a few months away from having sufficient material for a one-woman show or a something good enough for submission to the Witney. As the years slip by, Alice and Bobby continue to live hopelessly beyond their means, desperately moving from one place to another as the unpaid bills threaten to catch up with them.

Natalie Crawford was her neighbour on Charles Street, a twice-divorced, childless woman who had some sort of job with an advertising agency, who burned incense in her apartment and believed in her Ouija board and liked to use words like “simpatico,” and who habitually found respite from her own state of single blessedness with any man she could get her hands on. Alice didn’t like her very much, or at least didn’t wholly approve of her, but for lack of other friends she had come to rely on her – to spend excessive amounts of time with her and attend her frantic parties, and even to borrow money from her at times when she couldn’t make her income stretch through the month. (pp. 129-130)

Alice’s rather tragic story is bookended by two sections which together give an account of Bobby’s time as a soldier at the end of WW2. As an unworldly, inexperienced eighteen-year-old, Bobby is somewhat lost in the midst of his platoon as he makes his way across the battlefields of Europe, trying as best he can to survive the various challenges of war. However, there are precious few chances for heroics or atonement for Bobby as the campaign plays out somewhat differently to his expectations. Meanwhile, Alice waits patiently in New York, hoping for a fresh start once her beloved son returns home – convinced as she is that ‘a special providence’ will always shine on them.

There are almost certainly autobiographical influences in this beautifully-written novel: the somewhat tragic sculptor mother who relies heavily on drink; the young boy who sees his mother for everything she really is; the absent father who has a strained relationship with his family; and the young man who is thrown into the realities of war.

While A Special Providence isn’t my favourite Yates, it is still very much worth reading, particularly for its portrayal of the complexities of the relationship between mother and son as the balance of reliance between these two individuals begins to shift. Moreover, there is the novel’s quietly devastating ending, a poignant coda which feels like quintessential Yates.

You can read my other posts on Richard Yates’ work here:

The Easter Parade

Eleven Kinds of Loneliness

A Good School

Disturbing the Peace

Liars in Love

Jill is published by Faber & Faber, A Special Providence by Vintage Books; personal copies.

Liars in Love by Richard Yates

I’ve been on a bit of Richard Yates kick lately. First with A Good School (1978), his loosely autobiographical novel of life as a teenage boy at a single-sex boarding school, and now with Liars in Love (1981), his second collection of short stories. While Liars isn’t quite as strong as his earlier collection, the superb Eleven Kinds of Loneliness (1962), it’s still very much worth reading, especially if you’re a fan of this author’s work or short stories in general – Yates is widely acknowledged as a true master of the form.

Once again, Yates demonstrates a deep understanding of the frailties of human nature here. More specifically, he explores the frustrations and disappointments of day-to-day life, the feelings of worthlessness that can stem from small failures, and the lack of connection as promising relationships break down and individuals drift apart. Here we have failing marriages, disparate households, and children who seem detached and isolated from their parents. It’s vintage Yates territory, as intuitively observed as one might expect.

The collection comprises seven stories each ranging from around 30 to 60 pages in length. As with other collections I’ve reviewed, I’m not going to cover each story in turn. Instead, my aim is to pick out a few favourites to give a flavour of the volume as a whole.

The opening story, Oh, Joseph, I’m So Tired, is narrated by a young boy living in Greenwich Village with his sister and mother who is trying her hand – quite poorly as it turns out – at producing sculptures. The mother is a classic Yates character; having separated from her husband some three years earlier, she is now a somewhat tragic and deluded woman whose best years are almost certainly behind her.

She was forty-one, an age when even romantics must admit that youth is gone, and she had nothing to show for the years but a studio crowded with green plaster statues that nobody would buy. She believed in the aristocracy, but there was no reason to suppose the aristocracy would ever believe in her. (p. 30)

This is a thoughtful story laced with moments of pathos and sadness, a strong start to the collection.

Children feature again in one of my favourites pieces, Trying Out for the Race. In this story, two mothers with kids agree to share a house together in Scarsdale as a means of combining their respective resources. However, in spite of the fact that the two women, Elizabeth Hogan Baker and Lucy Towers, have been friends for years, they turn out to be somewhat mismatched as living companions. Here’s a brief flavour of the myriad of tensions that ensue – Nancy is Elizabeth’s young daughter.

The Towers family shied away from Elizabeth most of the time, and so did Nancy; it was like having a stranger in the house. Coming heavily downstairs in her spike heels, standing at the front windows to stare out at the Post Road as if in deep thought, picking at whatever food was set before her and drinking a lot after dinner as she paged impatiently through many magazines. Elizabeth didn’t even seem to notice how uncomfortable she made everyone feel. (p. 84)

This is a story full of acute observations on the sheer awkwardness and frustrations of living in close quarters with people other than family – a situation familiar to most of us at some point in our lives.

Another of my favourite stories, A Natural Girl, touches on the strained relationship between a father and his much-loved daughter, a young woman named Susan. Yates is typically strong on openings, but this one in particular drew me in from the very first line. Here’s how it begins.

In the spring of her sophomore year, when she was twenty, Susan Andrews told her father very calmly that she didn’t love him anymore. She regretted it, or at least the tone of it, almost at once, but it was too late: he sat looking stunned for a few seconds and then began to cry, all hunched over to hide his face from her, trying with one unsteady hand to get a handkerchief out of his dark suit. He was one of the five or six most respected hematologists in the United States, and nothing like this had happened to him for a great many years. (p. 37)

While the father struggles to understand why his daughter feels this way, there is in fact no particular reason behind it. As Susan says at one point: “There’s no more why to not loving than there is to loving. I think most intelligent people understand that.”

This is another beautifully observed story which also explores the landscape of Susan’s marriage to her college lecturer, an older man named David Clark. Towards the end of the narrative, things come full circle in more ways than one as Susan makes a brief return visit to the family home before setting out on her life again. The opening and closing sections are particularly poignant.

Others stories focus on an American soldier who requests compassionate leave to visit his estranged mother and sister, both of whom now live in England; a divorced writer who has a fling with a strikingly attractive girl while working on a screenplay in LA; and a young copywriter/editor named Bill Grove, presumably a grown-up version of the protagonist in A Good School.

While much of the subject matter explored in this collection is rather melancholy, there are touches of real tenderness and compassion here. In some ways, Yates is at his best when capturing these moments as he brings a degree of sensitivity and nuance to such scenes. It can be difficult when a quote is presented out of context, but I hope you can see something of it in this passage from Trying Out for the Race.

And Nancy gave her a brief, shy smile before turning away again. Slowly, Elizabeth removed the driving glove from her right hand. She reached across her daughter’s lap, clasped the outer thigh and brought her sliding over, careful to keep her small knees clear of the shuddering gear shift. She held the child’s thighs pressed fast against her own for a long time; then, in a voice so soft it could scarcely be heard over the sound of the car, she said “Listen, it’ll be alright, sweetheart. It’ll be all right.” (p. 92)

In summary, Liars in Love is another very satisfying collection from Yates. There are even glimmers of hope and optimism in some of these stories, a sense of fresh starts, new beginnings or second chances for some of the characters, which is pleasing to see. In many ways, these stories feel all the better for it.

Liars in Love is published by Vintage Books; personal copy.

A Good School by Richard Yates

First published in 1978, A Good School is perhaps the most autobiographical of Richard Yates’ novels. The setting is Dorset Academy, a private, all-male prep school in northern Connecticut – a somewhat odd yet well-intentioned institution which, unbeknownst to the parents who send their boys there, turns out to be on the brink of financial collapse. It soon becomes clear that there is something a little funny about Dorset; while the head likes to think of it as ‘a good school’, there is something decidedly off or second-rate here, a notion that is typified by the following quote.

Dorset Academy had a wide reputation for accepting boys who, for any number of reasons, no other school would touch. (p. 5)

Here we meet William Grove, a hesitant, socially awkward teenager whose experiences at the school are conveyed during the novel, forming a sort of spine or focal point for the vignettes presented throughout.

The kid was a mess. His tweed suit hung greasy with lack of cleaning, his necktie was a twisted rag, his long fingernails were blue, and he needed a haircut. He seemed in danger of stumbling over his own legs as he made his way to a chair, and he sat so awkwardly as to suggest it might be impossible for his body to find composure. What an advertisement for Dorset Academy! (p. 16)

We are quickly introduced to a large cast of additional characters, mostly other boarders at the school and the masters that teach there. (As the Dorset campus is somewhat isolated and enclosed, the various teachers and their families also live within its grounds.) There is Pierre Van Loon, a fellow boarder and social outcast who latches onto Grove as a sort of last resort; Terry Flynn, a popular, good-looking boy with ‘face of an angel and the body of a perfect athlete’; and Steve McKenzie, the second-floor dorm inspector who always seems to be spoiling for a fight. Several other boys feature at various points – too many to cover in detail in this review – but each one feels recognisable and authentic even when relatively briefly sketched.

Yates is particularly good at capturing the many anxieties of a teenage boy, the day-to-day experiences that Grove and others like him must navigate if they are to survive in this difficult environment. Namely, the numerous fights and instances of petty bullying that break out, often over nothing; the inevitable comparisons of body parts in the showers, both overt and covert; and the angst of trying to form and maintain friendships, especially once the boys reach an age when they are allowed to room together in pairs. In this scene, Richard Edward Thomas Lear, an English boy with a somewhat supercilious manner, is itching for a fight. Anyone will do – in other words, whoever happens to get in his way at the appointed time.

Sometimes, though, and particularly at this hour of the day, an unaccountable melancholy settled on him. He wanted to punch and wrestle and shout; those were the only activities that could make him feel fit again. With his shower completed and his clothes changed for dinner, he went out into the hall and found Art Jennings intently flicking specks of lint off his black jacket. Jennings was a hulking, amiable nearsighted boy; he was bigger than Lear, but that would only make it more stimulating. (p. 12)

In his early months at the school, Grove finds himself on the receiving end of a number of unpleasant schoolboy rituals – various fights, a wrestling match and a potentially humiliating incident of an overtly sexual nature. Nevertheless, Grove refuses to let the bullies get the better of him (well, if not physically, then at the very least mentally). He tries to stand his ground, refusing to give them the satisfaction of cowing or crying in their presence.

In time, Grove finds his niche in the production of the fortnightly school newspaper, the well-respected Dorset Chronicle, joining the editorial team as a prize for his essay on America at War. Although he struggles to cut it in Maths, French, and Chemistry, Grove performs well in English, demonstrating a natural talent for writing, a skill he hones and puts to good use during his time on the paper. Eventually the position of editor-in-chief beckons, a role that boosts Grove’s confidence, giving him a new sense of purpose and self-respect at the school.

Most of the time he moved around the campus with a new sense of freedom – and even, occasionally, with a sense of his own importance. There was only one school newspaper, after all, and he was its editor-in-chief. Little kids shyly asked him questions, and boys of his own age and older seemed never to find him ridiculous. (p. 81)

The Chronicle also presents an opportunity for friendships to be forged and developed. When new boy Bucky Ward shows an interest in the paper, Grove gives him a chance, and the two boys soon become good friends. In time, Grove also wins the respect and comradeship of Hugh Britt, a talented but somewhat distant intellectual and former editor of the Chronicle who still plays a key role in the editorial team. But the pleasures of friendship do not come without their own complications, a point that Grove discovers in due course…

Alongside the boys’ experiences and exploits, we are also privy to the trials and tribulations of the teaching staff and their families. There are the headmaster’s desperate attempts to get the masters to accept a pay cut following strained discussions with the Trustees; the fading stages of an affair between Jean-Paul La Prade, the French master, and Alice Draper, the wife of the polio-stricken Chemistry master, Jack Draper; not to mention the crushing atmosphere in the Drapers’ household once La Prade leaves the school for a commission in the Army. In this scene – one that feels so characteristic of Yates’ signature theme of the sham-like nature of marriage – Jack Draper is reflecting on his situation with Alice. The gulf that hangs between them looms large.

“I have to think,” she had explained. “I have to take stock. I have to work a few things out in my mind.”

Well, okay, but what exactly did all that mean? Think about what? Take stock of what? Work what things out in her mind?

And now it was spring. In the evenings, after dinner and before the children’s bedtime, the four of them would sit around the living room in simulation of what real families might be expected to do. He had to admit he was stiff with drink on most of those occasions: he would usually start drinking in the lab in the afternoon and keep it going with heavy shots of bourbon in the kitchen before dinner, and more afterwards. (p. 95)

There is real poignancy and tragedy is Yates’ depiction of the Drapers, a point that is difficult to discuss in more detail without revealing spoilers.

As the book draws to a close and the boys’ thoughts turn to the future, two somewhat connected themes begin to emerge. Firstly, there is the prospect of relationships with girls, something that Grove eagerly anticipates when he hears that the Seniors will be sitting their final exams at Miss Blair’s, the neighbouring girls’ school.

This was a vaguely thrilling prospect. Apart from Gus Gerhardt, who was wholly familiar with the place but wasn’t talking, nobody knew anything about Miss Blair’s except that Edith Stone had graduated from it last year; but didn’t it stand to reason there’d be other girls like her? They’d have long, clean hair and they’d stroll their campus in light flannel skirts and light cardigan sweaters, with their school-books hugged close to their young breasts, and they’d say wonderfully engaging things like “Hi, my name’s Susan”. (p. 139)

Ironically, the boys’ hopes are dashed when they arrive at Miss Blair’s, only to be taunted by the girls’ disparaging chants – rhymes that serve to highlight the external perception of Dorset Academy as a ‘funny school’.

Secondly, there is the shadow of war and its consequences for Grove and his peers. The book is set during the early 1940s, with World War II featuring strongly in the background, a fact that adds a real sense of poignancy and gravity to the narrative, especially towards the end. Immediately following their graduation, the boys will be heading for the forces, uncertain as to what the future will hold for them. All this adds weight to their day-to-day experiences at the school, giving them a sort of grounding for the weeks and months ahead – they can look no further forward than that.

The novel is bookended by a forward and an afterword, both narrated by the adult Grove – a thinly veiled version of Yates himself – which explain how he had come to find himself at Dorset Academy in the first place and what happened to his classmates once they had graduated. The forward in particular is excellent, a deeply personal piece which touches on the younger Grove’s rather distant relationship with his father and the sadness he now feels for him looking back.

This is a book that touches on many themes: the angst of a boy’s teenage years and the pain of growing up; the gulf and disconnect between fathers and sons; the inevitable loss of innocence that will come with the war. There are many more.

From a technical perspective, A Good School may not be Yates’ most accomplished or dramatic book, but it’s still a terrific read. You can read Max’s excellent review of this novel here.

A Good School is published by Vintage Books; personal copy.

Eleven Kinds of Loneliness by Richard Yates

Back in 2015, Richard Yates made my end-of-year highlights with The Easter Parade, a beautiful yet sad novel about the Grimes sisters and the different paths they take in life. There’s a good chance he’ll be on my list again in 2017, this time with Eleven Kinds of Loneliness (1962), a peerless collection of stories as good as any I’ve read in recent years. Yates’ canvases may be small and intimate, but the emotions he explores are universal. Here are the frustrations and disappointments of day-to-day life, the loneliness that stems from rejection, uncertainty or a deep feeling of worthlessness (there are other reasons too, which I’ll try to touch on later). As with other collections I’ve reviewed, I’m not going to try to cover each story in turn. My aim instead is to give a flavour of the themes and a little of what I thought of the volume as a whole.

In The Best of Everything, one of my favourite pieces in the collection, we meet Grace, a young woman on the brink of marrying her fiancé, Ralph. As she finishes up her work on the Friday before the wedding, Grace reflects on her situation as the doubts begin to run through her mind. Maybe her roommate, Martha, was right after all; maybe she is settling for second best.

She had been calling him “darling” for only a short time—since it had become irrevocably clear that she was, after all, going to marry him—and the word still had an alien sound. As she straightened the stacks of stationary in her desk (because there was nothing else to do), a familiar little panic gripped her: she couldn’t marry him—she hardly even knew him. Sometimes it occurred to her differently, that she couldn’t marry him because she knew him too well, and either way it left her badly shaken, vulnerable to all the things that Martha, her roommate, had said from the very beginning. (p. 23)

When she discovers that her roommate is going away for the night, Grace plans a surprise for Ralph, a pre-marital treat that doesn’t quite go to plan. Instead, Grace gets a glimpse of what life may hold for her once she is married: the need to carefully manage the dynamic between husband and wife.

A Glutton for Punishment features a classic Yates protagonist, Walter Henderson, a rather unassuming young man who works in a Manhattan office in the heart of NYC. Walter, a graceful and gracious loser all his life, is convinced he is about to be fired from his job. In spite of his wife’s best efforts to make their home life as bearable as possible, the weight of this expectation hangs over Walter on a permanent basis.

And lately, when he started coming home with a beaten look and announcing darkly that he doubted if he could hold on much longer, she would enjoin the children not to bother him (“Daddy’s very tired tonight”), bring him a drink and soothe him with careful, wifely reassurance, doing her best to conceal her fear, never guessing, or at least never showing, that she was dealing with a chronic, compulsive failure, a strange little boy in love with the attitudes of collapse. (pp. 73-4)

This is a wonderful story, one that touches on the anxieties of life, the sense of pride and respect we all crave from those around us. Moreover, it also highlights the different roles a wife and mother was expected to play back in the late 1950s/early ‘60s, the various modes she had to adopt, irrespective of how taxing or frustrating they proved to be.

This bright cocktail mood was a carefully studied effect, he knew. So was her motherly sternness over the children’s supper; so was the brisk, no-nonsense efficiency with which, earlier today, she had attacked the supermarket; and so, later tonight, would be the tenderness of her surrender in his arms. The orderly rotation of many careful moods was her life, or rather, was what her life had become. She managed it well, and it was only rarely, looking very closely at her face, that he could see how much the effort was costing her. (p. 85)

Yates is particularly good when it comes to depicting the loneliness one often experiences in childhood, the challenges and difficulties associated with our schooldays. In Doctor Jack-o’-Lantern, we meet Vincent Sabella, a somewhat coarse boy who also happens to be the new kid in class.

The girls decided that he wasn’t very nice and turned away, but the boys lingered in their scrutiny, looking him up and down with faint smiles. This was the kind of kid they were accustomed to thinking of as “tough,” the kind whose stares had made all of them uncomfortable at one time or another in unfamiliar neighborhoods; here was a unique chance for retaliation. (p. 2)

While Miss Price, the fourth-grade teacher, does her best to make Vincent feel welcome, none of the children in the class seem willing to make an effort. As a consequence, Vincent spends virtually all of his breaks alone, desperately trying to kill time. When Miss Pryce tries to befriend Vincent, things don’t go as smoothly as expected. What follows is a sequence of events that highlights how loneliness can come about as a direct consequence of our own behaviour towards others, the actions we take when our frustrations bubble up to the surface.

Fun with a Stranger explores a different type of experience at school – that of being saddled with a ghastly teacher, in this case, a ‘big rawboned woman’ named Miss Snell. In direct contrast to her counterpart, the warm and engaging Mrs Cleary (the teacher who takes the other half of third grade), Miss Snell is strict and lacking in humour, forever pulling up the children for mumbling, daydreaming, frequent trips to the toilet, and, worst of all, for ‘coming to school without proper supplies’.

She never seemed to lose her temper, but it would almost have been better if she did, for it was the flat, dry, passionless redundance of her scolding that got everybody down. When Miss Snell singled someone out for a special upbraiding it was an ordeal by talk. She would come up to within a foot of her victim’s face, her eyes would stare unblinkingly into his, and the wrinkled gray flesh of her mouth would labor to pronounce his guilt, grimly and deliberately, until all the color faded from the day. (p. 107)

As this story unfolds, we see the impact of Miss Snell’s approach on the morale of her half of the intake – and how this compares to Mrs Cleary’s. There are times when the children are embarrassed by Miss Snell’s failure to show any enthusiasm or inspiration, especially when the two classes come together for a field trip. As Christmas approaches, the children hope that Miss Snell won’t let them down. Will she be able to match her colleague’s plans for a festive party? You’ll have to read this excellent story for yourselves to find out.

Two of the stories are set in hospitals, in TB wards to be precise. No Pain Whatsoever gives us a glimpse into the life of Myra, a woman who has been visiting her husband in hospital every Sunday for the past four years. This is a poignant story of an individual trapped in a stagnant marriage, isolated from her spouse both physically and emotionally. However, unbeknownst to her husband, Myra has found comfort in the form of another man.

Continuing the theme of illness, Out With the Old takes place in a Veterans hospital on New Year’s Eve, just a few days after most of the TB patients have returned to their ward after being allowed home for Christmas. Yates really captures the loneliness and loss of identity experienced by some of these patients when they come back to the hospital, a place where they must all dress alike in standard issue pyjamas. Here is Harold’s experience. (Even his name changes when he arrives back at the ward. Nobody calls him Harold here – instead, he is known as ‘Tiny’ on account of his imposing height.)

He remained Harold until the pass was over and he strode away from a clinging family farewell, shrugging the great overcoat around his shoulders and squaring the hat. He was Harold all the way to the bus terminal and all the way back to the hospital, and the other men still looked at him oddly and greeted him a little shyly when he pounded back into C Ward. He went to his bed and put down his several packages (one of which contained the new robe), then headed for the latrine to get undressed. That was the beginning of the end, for when he came out in the old faded pajamas and scuffed slippers there was only a trace of importance left in his softening face, and even that disappeared in the next hour of two, while he lay on his bed and listened to the radio. (p. 165)

Others feel like strangers in their own homes when they go back to ‘the outside’. Things have moved on; children have grown older, more distant. Consequently, patients feel rather out of touch with their own families.

Some of Yates’ stories hark back to the days of WWII, including a piece featuring a strict and vindictive drill sergeant in charge of a platoon of young troops. There is a common theme which runs through a few of the pieces here, a sense of frustration and lack of power felt by the men who fought in the war, their current, fairly stagnant lives falling some way short of the heady expectations of their glory days. This feeling of rage comes out in The B.A.R. Man when a dispirited ex-serviceman finds himself caught up in a protest at the end of an exasperating night.

The final story, Builders, is one of the highlights here, a piece featuring a talented yet struggling writer who finds himself working as a ghostwriter for a somewhat delusional but sharp-witted taxi driver. It’s impossible to do it justice in a few sentences, but Yates paints an intriguing picture, full of insight. It left me wondering if this sketch was based on a real-life encounter with the cabbie, a man who dreams of building stories as a way of injecting some meaning into his somewhat shallow life.

All in all, this is a truly brilliant collection, one that gets right to the heart of certain aspects of human nature. These are stories to linger over, to savour and absorb – very highly recommended.

Eleven Kinds of Loneliness is published by Vintage Books; personal copy.

Disturbing the Peace by Richard Yates

Continuing with my aim of working my way through the canon of one of my favourite writers, I recently turned to Richard Yates’ third novel, Disturbing the Peace. Following its publication in 1975, critics considered the book to be something of a disappointment, possibly even his weakest. While it may not be as accomplished and as devastating as Revolutionary Road, or as subtle and as melancholic as The Easter Parade, Disturbing the Peace is still a very fine novel. It’s a brilliantly realised portrait of one man’s descent into the depths of total despair. Here’s how it opens:

Everything began to go wrong for Janice Wilder in the late summer of 1960. And the worst part, she always said afterwards, the awful part, was that it seemed to happen without warning. (pg. 1)

Janice is married to John Wilder, the central figure in Yates’ novel. At thirty-five, John finds himself stuck in a comfortable but utterly stifling middle-class existence in New York. Despite his success as a salesman, John doesn’t really enjoy his job selling advertising space in The American Scientist magazine. His marriage to Janice is comfortable but dull, so he plays around a bit; plus he is losing any real ability to connect with his only child, ten-year-old Tommy. In other words, he feels very frustrated with his life.

As the novel opens, John has just arrived back in NYC following a week-long business trip to Chicago. Unable to face the thought of returning home to Janice, John calls her from a hotel bar. It soon becomes clear that John has been drinking fairly heavily, and he is spoiling for a fight.

“Okay, here’s another thing. There was a girl in Chicago, little PR girl for one of the distilleries. I screwed her five times in the Palmer House. Whaddya think of that?”

It wasn’t the first news of its kind – there had been a good many girls – but it was the first time he’d ever flung it at her this way, like an adolescent braggart trying to shock his mother. She thought of saying What would you like me to think? but didn’t trust her voice: it might sound wounded, which would be a mistake, or it might sounds dry and tolerant and that would be worse. Luckily he didn’t wait long for an answer. (pgs. 2-3)

The remainder of the phone call leaves Janice feeling very concerned about John’s state of mind, so much so that she calls their close friend, Paul Borg, and asks him to go and talk to John at the Commodore – hopefully Paul will be able to sort things out, to talk to him man-to-man. When Paul arrives on the scene, John claims he is suffering from exhaustion brought on by a bad case of insomnia in Chicago. In reality, John is on the cusp of a nervous breakdown; he just doesn’t know it, or maybe he cannot admit that he needs help. When Paul persuades him to check into a hospital for some much-needed rest and recuperation, John ends up arguing with one of the doctors, an action that results in his transfer to the Men’s Violence Ward at Bellevue, a psychiatric unit which sounds more like a prison than a place of care. With it being Labour Day weekend, John ends up spending the best part of a week in Bellevue, an experience that is relayed in vivid and gruelling detail in the opening section of the novel.

When John is finally released from Bellevue, Janice arranges for the family to take a short break at their second home in the country. As with certain other family pleasures, John knows that expectations of the trip will almost certainly outweigh actual fulfilment. Janice gives it her best shot, playing the role of the concerned and devoted wife, talking away in an attempt to fill the silence. Meanwhile, John spends much of his time drinking bourbon, looking out of the window and gazing at pretty young girls as they dive into the nearby lake. At one point, he seems fit to burst with it all.

One good thing: there was plenty of bourbon on the kitchen shelf. As soon as he was dressed he got out the ice and made himself a double that was more like a triple.

“Feel like a drink?” he asked Janice.

“No thanks.” She was sitting on a tall kitchen stool in her slacks with a colander in her lap, snapping string beans for dinner, and didn’t look up. “It’s a little early, isn’t it?”

“Seems late enough to me.”

And not until he’d gone outdoors for the first few greedy swallows did he figure out why he was so angry. It wasn’t because of the girl on the raft (the hell with the girl on the raft), or because Janice had asked if it wasn’t a little early, or because her crisp little snap-snap of string beans had always been an irritating sound; it was because the stool she sat on, with her tennis shoes hooked over its middle rung, was exactly like the cop’s stool at the door in Bellevue. (pgs. 59-60)

This scene ends with John imagining just what he’d like to do with that stool, and it’s not a pretty picture.

As a condition of his release from Bellevue, John agrees to see a psychiatrist. At first, talking therapy seems to provide him with a brief release, a way of delving into the past, but it’s not long before he gets fed up with his physician. There is also the requirement to attend Alcoholics Anonymous meetings, but most of the time John’s heart isn’t in it, and he sneaks off for sly drinks immediately before and after each session.

Things start looking up for John when he begins an affair with Pamela Hendricks, an attractive, bright, young girl whom he meets through work. Everything is rosy for a year or so as Pamela seems to offer John some hope in life. The couple share a mutual love of movies, and, with the help of some of Pamela’s old college friends, they begin work on a film based on John’s stint in Bellevue. In time (and following a few developments I won’t go into here) John leaves Janice and moves to California with Pamela with the aim of finalising the movie and getting it into distribution.

The remainder of the novel charts John’s downward trajectory as everything around him unravels. Fuelled by an addiction to alcohol and tormented by his past failings, John systematically destroys pretty much everything that is bright and promising in his life; ultimately he sinks into a depression, one that makes his earlier breakdown seem mild by comparison. Interestingly, there is a direct parallel between John’s own life and that of the protagonist in the final version of the film (the one the producers consider to be more commercially viable than the inside story of Bellevue itself).

As with Yates’ other novels, Disturbing the Peace chips away at the façade that is The American Dream. In this scene, during a brief ‘second honeymoon’ period with Janice, John reflects on the sham of his marriage. It is all merely an act, and he wonders how long they can keep it up.

“We’re having Tommy’s favourite tonight,” she said when he was settled at the table. “My own very special meat loaf, baked potato with sour cream, and a simple tossed salad. It used to be one of your favourites too, John. Is it still?

“Sure is. Especially the meat loaf. You suppose I could have another slice?”

“Why, certainly kind sir,” she said. “I’m very flattered.

As the conversation continues in a similar vein, John comes to the following realisation:

Was this really happening? Was she sitting there forking meat loaf into her mouth and dabbing at her lips with a napkin, and was Tommy really there across the table? How could any family as unhappy as this put on such a show every night, and how long could it last? (pg. 149)

Yates is also very strong on the small disappointments in life: John’s frustration at his lack of height; the fact that he never learned to swim; an uneasy game of catch with Tommy that fails to satisfy both father and son. I love this description of a stole that John bought for Janice, a minor tragedy that seems to capture his feelings about the marriage itself.

That stole, too, was a heartbreaker. He had given it to her as a birthday present years ago, after seeing one just like it slung from the shoulders of a pretty girl at the office. But the girl at the office had known how to wear the thing, as a sort of elegant loose shawl, and Janice hadn’t. From the moment she’d rushed from her birthday celebration to pose with it at the hall mirror (“Oh, I love this, John…”) he knew she would never to wear it – it looped and dangled from  her elbows like a rope – and every time she tried only made it worse. (pg 161)

Set as it is in the early 1960s, the novel also touches on the Kennedy phenomenon. John dislikes the Kennedys and everything they represent. When John F. Kennedy is shot dead in 1963, John Wilder realises he feels a degree of sympathy with the assassin. Kennedy had been too tall, too young, too good-looking and too damn successful; ‘he had embodied elegance and wit and finesse.’ Kennedy had been everything John Wilder knew he couldn’t be.

The period detail is wonderful, too. There is a scene where John’s boss takes him out for lunch, a long, languorous, martini-fuelled discussion that could have easily served as the template for one of Don Draper’s liquid lunches with Roger Sterling in Mad Men.

Disturbing the Peace is a more self-analytical novel than Revolutionary Road or The Easter Parade. It is clear that Yates has drawn on his own experiences for inspiration here. There is a bitterness running through John’s narrative, and the ending, when it comes, is pretty bleak. Even so, it leaves me all the more eager to read more of this author’s work in the future; it’s just a question of deciding which one to read next.

Update: MarinaSofia has also reviewed this novel – click here to read her review.

Disturbing the Peace is published by Vintage Books; personal copy.

The Easter Parade by Richard Yates

Does it get much better than Richard Yates? I’m not sure that it does. That’s certainly my feeling after rereading his 1976 novel, The Easter Parade. According to the quotes at the beginning of the book, Joan Didion considers it to be Yates’ best novel, and I can understand why. It’s a desperately sad story, one that taps into a familiar theme in this author’s work: the search for happiness and fulfilment that always seem to elude his characters. Despite the deep sense of sadness running through the novel, this is a wonderful book. It has left me keen to read more of Yates in the future.

The Easter Parade follows the lives of two sisters, Sarah and Emily Grimes, from their childhood through to middle age. Neither of the sisters seems destined to live a happy life, and the novel makes this clear from the opening line. By 1930, their parents are divorced, and the girls go to live with their mother in a rented house in New Jersey. The mother, Pookie, is a bit unstable. She aspires to belong to a higher social class, to live in a bigger and better house. Just as the girls get settled in one home, Pookie insists on moving them to another. In short she is constantly seeking the finer things in life.

One of the pleasures of this novel (and this author’s work in general) is Yates’ ability to capture a sense of character in just a few short sentences. Here’s how he introduces Pookie:

Esther Grimes, or Pookie, was a small, active woman whose life seemed pledged to achieving and sustaining an elusive quality she called ‘flair.’ She pored over fashion magazines, dressed tastefully and tried many ways of fixing her hair, but her eyes remained bewildered and she never quite learned to keep her lipstick within the borders of her mouth, which gave her an air of dazed and vulnerable uncertainty. (pg 7, Vintage Books)

The girls have a somewhat idealised view of their father, a copy-desk writer for the New York Sun newspaper, whom they visit every now and again. He dies young from pneumonia although there are hints of a reliance on alcohol and cigarettes which may well have contributed to his death.

The focus of the story is the different paths the two girls follow in their lives, each of them yearning for happiness, neither of them finding it within their grasp. Sarah is four years older than Emily. As a young woman, she is curvy, attractive and her father’s favourite. Keen to get married and settle down, Sarah marries Tony, a well-educated, handsome young man with the look of Laurence Olivier about him. They go to live in a country cottage within the grounds of Tony parents’ estate in St. Charles, Long Island. Three sons follow within the space of a few years. On the surface, everything appears rosy, but as this is a Richard Yates novel, we know that’s not going to be the case here.

By contrast, Emily’s life follows a more independent route than that of her sister. Emily is tall, rather flat-chested and perhaps a little plain compared to Sarah. There is a sense of vulnerability about Emily’s character. At first she appears somewhat self-conscious, especially in the shadow of her older sister, but as the years slip by she grows in confidence. The novel focuses on Emily, so we see most of the story from her point of view. She gains a scholarship to Barnard College and her education enables her to find work as a librarian, a journalist, and ultimately as a copywriter in an advertising agency. At Barnard, she meets and marries a philosophy grad assistant named Andrew. The marriage, however, is a disaster – blighted by Andrew’s bitterness over his impotence – and so the couple separate within a matter of months.

While working on the editorial staff of a trade journal, Emily falls for her editor, a divorcee and published poet named Jack. They move to Iowa when Jack lands a role teaching at a writer’s workshop at the university there. At first everything seems to be going well, but as Jack struggles to complete his next book, everything starts to fall apart. A holiday to Europe turns sour leaving Emily feeling more alone than ever before.

‘It isn’t you; why do you always think everything’s you? It’s just – it’s just that this is my first night in a foreign country and it’s made me feel so vulnerable.’ And that was true enough, she decided as she got up from the bed to blow her nose and wash her face, but it was only part of the truth. The rest of it was that she didn’t want to travel with a man she didn’t love. (pgs. 112-113)

During the years that follow, Emily goes from one doomed relationship to another, forever seeking the love and companionship of a stable partner. While she continues to hope things will finally come together, there is occasionally a feeling of relief if they don’t.

As the cab pulled away she turned around in the heavy scent of roses to see if he would wave, but she caught only a glimpse of his back heading into the sidewalk crowd.

Except that she wanted to cry, she didn’t really know what she felt. She tried to figure it out all the way home until she discovered, climbing the stairs, that she felt a great sense of relief. (pg. 62)

As the years pass, the sisters drift apart. While Emily grows increasingly lonely, cracks begin to appear in Sarah and Tony’s marriage. When Emily meets her sister for lunch in town one day, she finds her much changed. Sarah appears so much older than her forty-one years, her faced lined and shadowed, her hand permanently clutching a glass of martini. At first, Sarah is keen to maintain appearances – she pretends everything is okay, resorting to drink as she attempts to wipe away the reality of her life with Tony. By the evening, however, it becomes clear that she is the victim of domestic abuse. In a particularly painful scene, Sarah calls her sister from a hotel; when Emily goes to see her sister, she urges her to leave Tony.

The only important thing now is to make up your mind. Either go back to St. Charles, or start a new life for yourself here.’

Sarah was silent, as if pretending to think it over for the sake of appearances; then she said ‘I’d better go back,’ as Emily had known she would. ‘I’ll take the train back this afternoon.’

‘Why?’ Emily said. ‘Because he “needs” you?’

‘We need each other.’

So it was settled. Sarah would go back; all of Emily’s days and nights would be free for Michael Hogan, and for whatever man might follow him in the long succession. She had to admit she was relieved, but it was a relief that couldn’t be shown. ‘And what you’re really afraid of,’ she said, intending it as a kind of taunt, ‘what you’re really afraid of is that Tony might leave you.’

Sarah lowered her eyes, displaying the fine little blue-white scar. ‘That’s right,’ she said. (pgs. 155-156)

The underlying tragedy of these sisters’ stories is that they each crave a little part of what the other one has in her life and yet they seem unable to share their true feelings with one another. In her younger days, Sarah aspires to be a writer, but her promising start in putting together a book of letters falls by the wayside; her duties as a wife and a mother must come first. Sarah envies her sister’s independence, and yet she is unable to break free from Tony even though she knows her situation is likely to deteriorate even further over time.

Emily, on the other hand, longs for a different type of fulfilment: the stability of a permanent relationship. Not quite the type of marriage that Sarah has made with Tony, but something more loving, more caring.

By the end of the novel, I found myself wishing they had been able to help and support each other more along the way. If so, perhaps things would have turned out differently for both of them…

Update: Kim (at Reading Matters) and Carly (guesting at tomcat in the red room) have also reviewed this novel – just click on the links to read their excellent reviews .

The Easter Parade is published by Vintage Books. Source: personal copy. Book 17/20, #TBR20 round 2.