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Thursday, Nov 26, 2009
The bard of disintegrating marriages and deluded artists is enjoying a posthumous boom with a masterly story collection.
Jun 19, 2001 | "The Collected Stories of Richard Yates," 27 short works with scarcely an uplifting, encouraging or life-affirming moment in them, is turning into a sleeper hit, showing up on several independent bookstores' bestseller lists. This may seem surprising, but it shouldn't be. Yates, who died in 1992, had a small but fiercely devoted following, especially among other fiction writers, and when his 1961 novel "Revolutionary Road" was restored to print last year, with a splendid introduction by Richard Ford, a new audience was introduced to Yates' crisp, distinctive voice. Now we have the collected stories as well, and belated as it may seem to Yates' admirers, 2001 turns out to be an auspicious moment for their arrival.
These stringent, ruthlessly straightforward (yet never, thank God, "minimalist") stories are set mostly in the late '40s and '50s, yet they're perfect reading for right now, when we're just starting to reacquaint ourselves with economic downturn and widespread economic anxiety, when our political discourse is insipid and our mass culture seems more vacuous than ever. In their measured, crystalline prose, Yates' stories make us ask how we ever expected so much in the first place. They demolish all pretense, puncture all forms of bloat. Yates lays into his characters' human flaws with a merciless precision. Yet he's never simply cruel or bilious; he's got his eye on something higher and finer. Somehow, once you've let him blow away your last vestige of hope in the redeeming value of humankind, you feel oddly cleansed, as if finally, now, you can start to think a few things that are true.
There's not much left once Yates is done with postwar America. Self-interest, faithlessness and delusions of grandeur appear to have infiltrated every last corner of his characters' lives. The family? Smothering, or chilly, or both in exactly the wrong ways. Marriage? A sadly deluded act, entered into for ridiculously flimsy reasons, proving in practice to be just a setup for the long indignity of divorce and alimony payments. Friendship? A pathetic, temporary attempt at a substitute for marriage and family, minus the alimony when things drift or break apart, as they inevitably will. The corporate world? A slow death of gray, soul-sucking, windowless busy work. Bohemia? A shabby, laughable stab at glory by those too untalented to create real art, too conceited to get a real job. Patriotism? A lazy longing for the dull, familiar pain of home. Love? Ha.
Dark as it is, Yates' message is not nihilistic. He's not saying that life is merely meaningless or unfair. In fact he metes out disappointment and failure and mortification to his characters with a marked sense of justice, even of decency. He's an equal-opportunity humiliator -- in his fictional universe a wealthy and powerful film director is no less self-deceiving than the lowliest clerk who dreams of the corner office; the beautiful fall on their faces as often as the ugly. As for writers, they may be the saddest of all Yates' characters, with their refusal ever to admit to failure, their embarrassing secret fantasies of fame and honor, their vain, impotent hopes of being the next Hemingway or Fitzgerald, their bluster about "moving to Paris to write."
