Richard Yates poses the question of how much reality people can stand, and the answer he comes up with is “not very much.” Alternatives to facing reality head-on are explored in Revolutionary Road: avoidance, denial, alcoholism, insanity and death.
“You want to play house you got to have a job. You want to play very nice house, very sweet house, you got to have a job you don’t like. Great. This is the way ninety-eight-point-nine per cent of the people work things out, so believe me buddy you’ve got nothing to apologize for. Anybody comes along and says ‘Whaddya do it for?’ you can be pretty sure he’s on a four-hour pass from the State funny-farm; all agreed.”
And all because, in a sentimentally lonely time long ago, she had found it easy and agreeable to believe whatever this one particular boy felt like saying, and to repay him for that pleasure by telling easy, agreeable lies of her own, until each was saying what the other most wanted to hear — until he was saying “I love you” and she was saying “Really, I mean it; you’re the most interesting person I’ve ever met.”
People’s inability to absorb large, unfiltered doses of reality probably explains why New Yorker fiction editor Roger Angell wrote to Yates’s agent in 1981, “It seems clearer and clearer that his kind of fiction is not what we’re looking for. I wonder if it wouldn’t save a lot of time and disappointment in the end if you and he could come to the same conclusion.”
And why at the time of his death in 1992, all of Yates’ books were out of print.