Of course. And isn't that the worst kind of loss? When you don't even realise the value of something until you've thrown it away? - Richard Yates

"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.

Yates viewed Gloria [Cold Spring Harbor] as the best likeness of Dookie [his own real-life mother] he ever managed: a triumph. And if she fails to win the reader's sympathies? As Yates was careful to remind himself, "the hell with the reader's sympathies". Which, in a nutshell, may explain why Cold Spring Harbor didn't sell and why, for that matter, Yates's books [kept] going out of print. To repeat the obvious, most people don't like reading about, much less identifying with, mediocre people who evade the truth until it rolls over them. And yet most of us face such a reckoning sooner or later. [...] If Yates seemed to vacillate between "acceptance and revulsion" towards his people—with a decided emphasis on the latter in the case of Gloria Drake and certain others—it was at least in pursuit of an honest synthesis.

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