Richard Yates Quotes

Then he turned his chair away from his drawing board - he didn't often do that - and sat looking grave and thoughtful, examining the wet end of his cigar. "Well, hell, I'd like to get married too," he said. "I mean, I'm not really immune to it or anything, but there are a few obstacles. Number one, I haven't met the right girl. Number two, I've got too many other responsibilities. Number three - or wait, come to think of it, who the hell needs a number three?"

But this isn't a lecture course. The only way any of us can learn this craft is by saturating ourselves in examples of it, in and out of print, and then trying to put the best of what we've found into our own work.

and for an hour or two they talked in circles.

Thirty years before, in his revision notes for his first novel, Yates pondered what he viewed as the single biggest flaw in his work—sentimentality, the fact that his protagonists Frank and April were "too nice": "See and show both of these people from the outside, in the round, and from the inside too. Be 'simultaneously enchanted and repelled by their inexhaustible variety.' Think about them, and the hell with the reader's sympathies. Make them love and hate each other the way real people do." Yates seized on this approach—showing his characters from the outside and in—as the key to making otherwise unexceptional people interesting

Because you see there are millions and millions of people in New York - more people than you can possibly imagine, ever - and most of them are doing something that makes sound. Maybe talking, or playing the radio, maybe closing doors, maybe putting their forks down on their plates if they're having dinner, or dropping their shoes if they're going to bed - and because there are so many of them, all those little sounds add up and come together in a kind of hum. But it's so faint - so very, very faint - that you can't hear it unless you listen very carefully for a long time.

On December 16, 1992, Sam Lawrence and Kurt Vonnegut hosted a memorial service for Yates at the Century Club in Manhattan. In his eulogy Vonnegut spoke of the "forced march" he'd made through all nine of Yates's books before preparing his remarks: "Not only did I fail to detect so much as an injudiciously applied semicolon; I did not find even one paragraph which, if it were read to you today, would not wow you with its power, intelligence and clarity."

"You make it sound so easy." But that was one of the wonderful things about Sterling Nelson: he could make any difficult thing sound easy, and the only other man she had ever known who could do that was Willard Slade. All the others, George, for example, had made easy things sound difficult.

"Keep a tight asshole" became a favourite motto in times of adversity.

Where are the windows? he demanded, spreading his hands. That's the question. Where does the light come in?

As my husband always used to say, who cares? A lot of people care, Ann. Well, that's a nice thought, but try counting them up on your fingers. Name me four. Name me three.

The first drink tasted so good that he let her do most of the talking while he savored it, sitting beside her and watching her profile. The tip of her small nose bobbed very slightly up and down at each syllable beginning with p, b or m, and that seemed a lovely thing for a girl's nose to do.

Or was it possible that nobody's reasons could be all that clearly defined? Maybe men and women came together in ways as random and mindless as the mating of birds or pigs or insects, so that any talk of "reasons" would always be vain, always be self-deceiving and beside the point. Well, that would be one way of looking at it.

It occurred to Jack that if he held the phone well away from his head Sally's voice would dwindle and flatten out and be lost in tinny gibberish, like the voice of an idiot midget.

then he came back and faced her again, trembling. "'Nice,'" he said. "'Nice,' Is that what you want? You want the world to be 'nice'? Because listen, baby. Listen, sweetheart. The world is about as nice as shit. The world is struggle and rape and humilation and death. The world is no fucking place for dreamy little rich girls from St. Louis, do you understand me?"

All of this, of course, was but a fleeting distraction from Yates's ultimate concern. "Why aren't you writing?" he'd hector Childress and the others—or, if a given story was already written (and set in type), "Why aren't you revising this? You should be constantly revising!" Nothing was finished in Yates's eyes, not even his own best work: "How could I improve it? he'd fire back [...] Such zeal had the same effect on Childress as on Monica two years before—he began to realise that if this was what a true vocation involved, then perhaps he should consider something else.