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Eleven Kinds of Loneliness

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Home – Part 1: The Cover-Up – Walter’s wife tells him that he looks tired and worn out. Walter, of course, assures her he is just fine. Over the next hour, the kids whining, the sound of his wife’s concerned voice, the cigarettes, even the liquor, every moment strikes Walter as a kind of torture. Undicesimo racconto: Un tassista paga uno scrittore squattrinato affinchè dia forma alle sue tracce autobiografiche. Pag. 239 è fantastica (nella connotazione armuzziana del termine)

Eleven Kinds of Loneliness by Richard Yates | Goodreads

Not to worry. The same could have been said of Fitzgerald before his resurrection or Faulkner when his greatest work was out of print. Like them, Yates is not only a fine writer, but his fiction represents an important aspect of the American experience: the confusion of the post-war boom. No one portrays the Age of Anxiety as well or as deeply as Yates, or the logical fallout of American individualism, the impossibly high hopes of the ’40s and ’50s curdling, turning bitter. And like his idols Hemingway and Fitzgerald–especially Fitzgerald–Yates lived a life that provides a mirror for the work, an easy handle for a public that likes personalities more than books.Well, there is the artistry to admire, and that is considerable. Yates's stories may not be a bundle of laughs (though there is a grim humour in "Builders", the final story here, about a cab driver who hires a young writer to turn his experiences into fiction), but he can describe a world, and the state of mind it creates, so economically, so persuasively, that you stay your hand even as it reaches for the full bottle of paracetamol or opened razor. A man in a TB ward drafts a letter to his daughter, whom he has just discovered is now pregnant (and refusing to name the father): "Your old dad may not be good for much any more but he does know a thing or two about life and especially one important thing, and that is" - and here Yates steps in to say: "That was as far as the letter went." It is an excruciating moment, a joke and not a joke at all; also one would have expected nothing else. I guess I’m not very interested in successful people. I guess I’m more interested in failures.” – Richard Yates, interview Queste undici storie sono l’esordio letterario di Richard Yates perché, anche se pubblicate dopo “Revolutionary Road” (anzi, proprio sull’onda di quel primo e travolgente successo), furono scritte in precedenza. The question of what the reader is supposed to do with his or her sympathy and empathy is complex in Revolutionary Road, and also in the later work. As Greek tragedy turns around its characters’ fatal flaws, so does Yates’s fiction. The depth and breadth of characterization is much fuller, of course, but the end result is the same: the characters earn their downfall, seem fated to it. It’s this merciless limning of his people that makes Yates unique and the process of reading his work so affecting (some would say terrifying). We recognize the disappointments and miscalculations his characters suffer from our own less-than-heroic lives. And Yates refuses to spoon-feed us the usual redeeming, life-affirming plot twist that makes everything better. No comedy dilutes the humiliation. When it’s time to face the worst, there’s no evasion whatsoever, no softening of the blows.

Eleven Kinds? Loneliness and Reading for Type with Richard Eleven Kinds? Loneliness and Reading for Type with Richard

But while A Special Providenceextended and deepened Yates’s world, it wasn’t a literary sensation. It won no prizes, and commercially it was an utter failure. In the turbulence of 1969 it made no waves. It could not justifiably be called unsparing or searing or prophetic, as Revolutionary Roadhad been. It spoke for no generation–or perhaps for one that had long since been eclipsed. After waiting eight years for a second novel, critics were disappointed. Out With The Old A New Year's party in the TB ward. Family complexities and problems occur with patients lengthy stays. Soulful, melancholic, macabre but also has plenty of irony and humour. Absolutely brilliant. Illuminazione, per così dire», suggerii io, e Bernie abbandonò la ricerca del terzo termine schioccando felice le dita. Yates gives such savage portraits of his characters’ inadequacies that one no longer cares about them; having nervous breakdowns, sopping up gin, they seem beyond salvaging. The novelist, like the tyrant, has complete authority over his subjects, and must rule with at least occasional benevolence or risk revolt. It isn’t enough to claim accuracy, to reproduce an alcoholic’s haggard speech or a failed artist’s delusions of fame; there must be some tempering sense of grace or pity.

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The Best of Everything How can Grace feel lonely and depressed on the eve of her wedding day? It happens, especially when you are not sure what you want and you settle for what is available. She couldn’t marry him – she hardly even knew him. Sometimes it occured to her differently, that she couldn’t marry him because she knew him too well. They don’t. As the opening line promises, their lives are unhappy, their promise chronically unfulfilled. Love turns out to be harder than it is in the movies. Emily, who has romantic dreams and matching anxieties, gives her virginity to a soldier in a squalid, anonymous coupling in Central Park. Sarah, the prettier of the two, marries, but her husband beats her. Emily loves a series of weak men who treat her poorly and winds up alone and bitter, a drinker like her mother. Lasciar andare le cose per il loro verso e prenderle come veniva il più serenamente possibile era stato in un certo senso, il criterio costante della sua vita. Impossibile negare che il ruolo di chi sa perdere con disinvoltura avesse sempre avuto su di lui uno strano fascino. Decimo racconto: I festeggiamenti delle feste natalizie in un sanatorio. Che tu prenda venti individui e tu li metta in una caserma, in un convento, in un ospedale o nella casa del grande fratello, assisterai sempre a comportamenti simili.

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