Review
“A powerful treatment of a characteristically American theme, which might be labeled ‘trapped.' ... A highly impressive performance. It is written with perception, force and awareness of complexity and ambiguity, and it tells a moving and absorbing story.” —The Atlantic Monthly
"The Great Gatsby of my time ... one of the best books by a member of my generation." —Kurt Vonnegut, acclaimed author of Slaughterhouse-Five
"Beautifully crafted ... a remarkable and deeply troubling book." —Michiko Kakutani, The New York Times
“Every phrase reflects to the highest degree integrity and stylistic mastery. To read Revolutionary Road is to have forced upon us a fresh sense of our critical modern shortcomings: failures of work, education, community, family, marriage . . . and plain nerve.” —The New Republic
“Richard Yates is a writer of commanding gifts. His prose is urbane yet sensitive, with passion and irony held deftly in balance. And he provides unexpected pleasures in a flood of freshly minted phrases and in the thrust of sudden insight, precise notation of feeling, and mordant unsentimental perceptions.” —Saturday Review
"A deft, ironic, beautiful novel that deserves to be a classic." —William Stryron, National Book Award-winning author of Sophie's Choice
From the Inside Flap
With a new introduction by Richard Ford"A deft, ironic, beautiful novel that deserves to be a classic." --William Styron
From the moment of its publication in 1961, Revolutionary Road was hailed as a masterpiece of realistic fiction and as the most evocative portrayal of the opulent desolation of the American suburbs. It's the story of Frank and April Wheeler, a bright, beautiful, and talented couple who have lived on the assumption that greatness is only just around the corner. With heartbreaking compassion and remorseless clarity, Richard Yates shows how Frank and April mortgage their spiritual birthright, betraying not only each other, but their best selves.
In his introduction to this edition, novelist Richard Ford pays homage to the lasting influence and enduring power of Revolutionary Road.
From the Back Cover
With a new introduction by Richard Ford
"A deft, ironic, beautiful novel that deserves to be a classic." --William Styron
From the moment of its publication in 1961, Revolutionary Road was hailed as a masterpiece of realistic fiction and as the most evocative portrayal of the opulent desolation of the American suburbs. It's the story of Frank and April Wheeler, a bright, beautiful, and talented couple who have lived on the assumption that greatness is only just around the corner. With heartbreaking compassion and remorseless clarity, Richard Yates shows how Frank and April mortgage their spiritual birthright, betraying not only each other, but their best selves.
In his introduction to this edition, novelist Richard Ford pays homage to the lasting influence and enduring power of Revolutionary Road.
About the Author
Richard Yates was born in 1926 in New York and lived in California. His prize-winning stories began to appear in 1953 and his first novel, Revolutionary Road, was nominated for the National Book Award in 1961. He is the author of eight other works, including the novels A Good School, The Easter Parade, and Disturbing the Peace, and two collections of short stories, Eleven Kinds of Loneliness and Liars in Love. He died in 1992.
Excerpt. © Reprinted by permission. All rights reserved.
ONE
The final dying sounds of their dress rehearsal left the Laurel Players with nothing to do but stand there, silent and helpless, blinking out over the footlights of an empty auditorium. They hardly dared to breathe as the short, solemn figure of their director emerged from the naked seats to join them on stage, as he pulled a stepladder raspingly from the wings and climbed halfway up its rungs to turn and tell them, with several clearings of his throat, that they were a damned talented group of people and a wonderful group of people to work with.
"It hasn't been an easy job," he said, his glasses glinting soberly around the stage. "We've had a lot of problems here, and quite frankly I'd more or less resigned myself not to expect too much. Well, listen. Maybe this sounds corny, but something happened up here tonight. Sitting out there tonight I suddenly knew, deep down, that you were all putting your hearts into your work for the first time." He let the fingers of one hand splay out across the pocket of his shirt to show what a simple, physical thing the heart was; then he made the same hand into a fist, which he shook slowly and wordlessly in a long dramatic pause, closing one eye and allowing his moist lower lip to curl out in a grimace of triumph and pride. "Do that again tomorrow night," he said, "and we'll have one hell of a show."
They could have wept with relief. Instead, trembling, they cheered and laughed and shook hands and kissed one another, and somebody went out for a case of beer and they all sang songs around the auditorium piano until the time came to agree, unanimously, that they'd better knock it off and get a good night's sleep.
"See you tomorrow!" they called, as happy as children, and riding home under the moon they found they could roll down the windows of their cars and let the air in, with its health-giving smells of loam and young flowers. It was the first time many of the Laurel Players had allowed themselves to acknowledge the coming of spring.
The year was 1955 and the place was a part of western Connecticut where three swollen villages had lately been merged by a wide and clamorous highway called Route Twelve. The Laurel Players were an amateur company, but a costly and very serious one, carefully recruited from among the younger adults of all three towns, and this was to be their maiden production. All winter, gathering in one anther's living rooms for excited talks about Ibsen and Shaw and O'Neill, and then for the show of hands in which a common-sense majority chose The Petrified Forest, and then for preliminary casting, they had felt their dedication growing stronger every week. They might privately consider their director a funny little man (and he was, in a way: he seemed incapable of any but a very earnest manner of speaking, and would often conclude his remarks with a little shake of the head that caused his cheeks to wobble) but they liked and respected him, and they fully believed in most of the things he said. "Any play deserves the best that any actor has to give," he'd told them once, and another time: "Remember this. We're not just putting on a play here. We're establishing a community theater, and that's a pretty important thing to be doing."
The trouble was that from the very beginning they had been afraid they would end by making fools of themselves, and they had compounded that fear by being afraid to admit it. At first their rehearsals had been held on Saturdays--always, it seemed, on the kind of windless February or March afternoon when the sky is white, the trees are black, and the brown fields and hummocks of the earth lie naked and tender between curds of shriveled snow. The Players, coming out of their various kitchen doors and hesitating for a minute to button their coats or pull on their gloves, would see a landscape in which only a few very old, weathered houses seemed to belong; it made their own homes look as weightless and impermanent, as foolishly misplaced as a great many bright new toys that had been left outdoors overnight and rained on. Their automobiles didn't look right either--unnecessarily wide and gleaming in the colors of candy and ice cream, seeming to wince at each splatter of mud, they crawled apologetically down the broken roads that led from all directions to the deep, level slab of Route Twelve. Once there the cars seemed able to relax in an environment all their own, a long bright valley of colored plastic and plate glass and stainless steel--KING KONE, MOBILGAS, SHOPORAMA, EAT--but eventually they had to turn off, one by one, and make their way up the winding country road that led to the central high school; they had to pull up and stop in the quiet parking lot outside the high-school auditorium.
"Hi!" the Players would shyly call to one another.
"Hi! . . ." "Hi! . . ." And they'd go reluctantly inside.
Clumping their heavy galoshes around the stage, blotting at their noses with Kleenex and frowning at the unsteady print of their scripts, they would disarm each other at last with peals of forgiving laughter, and they would agree, over and over, that there was plenty of time to smooth the thing out. But there wasn't plenty of time, and they all knew it, and a doubling and redoubling of their rehearshal schedule seemed only to make matters worse. Long after the time had come for what the director called "really getting this thing off the ground; really making it happen," it remained a static, shapeless, inhumanly heavy weight; time and again they read the promise of failure in each other's eyes, in the apologetic nods and smiles of their parting and the spastic haste with which they broke for their cars and drove home to whatever older, less explicit promises of failure might lie in wait for them there.
And now tonight, with twenty-four hours to go, they had somehow managed to bring it off. Giddy in the unfamiliar feel of make-up and costumes on this first warm evening of the year, they had forgotten to be afraid: they had let the movement of the play come and carry them and break like a wave; and maybe it sounded corny (and what if it did?) but they had all put their hearts into their work. Could anyone ever ask for more than that?
The audience, arriving in a long clean serpent of cars the following night, were very serious too. Like the Players, they were mostly on the young side of middle age, and they were attractively dressed in what the New York clothing stores describe as Country Casuals. Anyone could see they were a better than average crowd, in terms of education and employment and good health, and it was clear too that they considered this a significant evening. They all knew, of course, and said so again and again as they filed inside and took their seats, that The Petrified Forest was hardly one of the world's great plays. But it was, after all, a fine theater piece with a basic point of view that was every bit as valid today as in the thirties ("Even more valid," one man kept telling his wife, who chewed her lips and nodded, seeing what he meant; "even more valid, when you think about it"). The main thing, though, was not the play itself but the company--the brave idea of it, the healthy, hopeful sound of it: the birth of a really good community theater right here, among themselves. This was what had drawn them, enough of them to fill more than half the auditorium, and it was what held them hushed and tense in readiness for pleasure as the house lights dimmed.
The curtain went up on a set whose rear wall was still shaking with the impact of a stagehand's last-minute escape, and the first few lines of dialogue were blurred by the scrape and bang of accidental offstage noises. These small disorders were signs of a mounting hysteria among the Laurel Players, but across the foot-lights they seemed only to add to a sense of impending excellence. They seemed to say, engagingly: Wait a minute; it hasn't really started yet. We're all a little nervous here, but please bear with us. And soon there was no further need for apologies, for the audience was watching the girl who played the heroine, Gabrielle.
Her name was April Wheeler, and she caused the whispered word "lovely" to roll out over the auditorium the first time she walked across the stage. A little later there were hopeful nudges and whispers of "She's good," and there were stately nods of pride among the several people who happened to know that she had attended one of the leading dramatic schools of New York less than ten years before. She was twenty-nine, a tall ash blonde with a patrician kind of beauty that no amount of amateur lighting could distort, and she seemed ideally cast in the role. It didn't even matter that bearing two children had left her a shade too heavy in the hips and thighs, for she moved with the shyly sensual grace of maidenhood; anyone happening to glance at Frank Wheeler, the round-faced, intelligent-looking young man who sat biting his fist in the last row of the audience, would have said he looked more like her suitor than her husband.
"Sometimes I can feel as if I were sparkling all over," she was saying, "and I want to go out and do something that's absolutely crazy, and marvelous . . ."
Backstage, huddled and listening, the other actors suddenly loved her. Or at least they were prepared to love her, even those who had resented her occasional lack of humility at rehearsals, for she was suddenly the only hope they had.
The leading man had come down with a kind of intestinal flu that morning. He had arrived at the theater in a high fever, insisting that he felt well enough to go on, but five minutes before curtain time he had begun to vomit in his dressing room, and there had been nothing for the director to do but send him home and take over the role himself. The thing happened so quickly that nobody had time to think of going out front to announce the substitution; a few of the minor actors didn't even know about it until they heard the director's voice out there in the lights, speaking the familiar words they'd expected to hear from the other man. He was doing his fervent best and delivering each line with a high semi-professional finish, but there was no denying that he looked all wrong in the part of Alan Squiers--squat and partly bald and all but unable to see without his glasses, which he'd refused to wear on stage. From the moment of his entrance he had caused the supporting actors to interrupt each other and forget where to stand, and now in the middle of his important first-act speech about his own futility--"Yes, brains without purpose; noise without sound; shape without substance--" one of his gesturing hands upset a glass of water that flooded the table. He tried to cover it with a giggle and a series of improvised lines--"You see? That's how useless I am. Here, let me help you wipe it up--" but the rest of the speech was ruined. The virus of calamity, dormant and threatening all these weeks, had erupted now and spread from the helplessly vomiting man until it infected everyone in the cast but April Wheeler.
"Wouldn't you like to be loved by me?" she was saying.
"Yes, Gabrielle," said the director, gleaming with sweat. "I should like to be loved by you."
"You think I'm attractive?"
Under the table the director's leg began to jiggle up and down on the spring of its flexed foot. "There are better words than that for what you are."
"Then why don't we at least make a start at it?"
She was working alone, and visibly weakening with every line. Before the end of the first act the audience could tell as well as the Players that she'd lost her grip, and soon they were all embarrassed for her. She had begun to alternate between false theatrical gestures and a white-knuckled immobility; she was carrying her shoulders high and square, and despite her heavy make-up you could see the warmth of humiliation rising in her face and neck.
Then came the bouncing entrance of Shep Campbell, the burly young red-haired engineer who played the gangster, Duke Mantee. The whole company had worried about Shep from the beginning, but he and his wife Milly, who had helped with the props and the publicity, were such enthusiastic and friendly people that nobody'd had the heart to suggest replacing him. The result of this indulgence now, and of Campbell's own nervous guilt about it, was that he forgot one of his key lines, said others in a voice so quick and faint that it couldn't be heard beyond the sixth row, and handled himself less like an outlaw than an obliging grocery clerk, bobbing head, rolled-up sleeves and all.
At intermission the audience straggled out to smoke and wander in uncomfortable groups around the high-school corridor, examining the high-school bulletin board and wiping damp palms down their slim-cut trousers and their graceful cotton skirts. None of them wanted to go back and go through with the second and final act, but they all did.
And so did the Players, whose one thought now, as plain as the sweat on their faces, was to put the whole sorry business behind them as fast as possible. It seemed to go on for hours, a cruel and protracted endurance test in which April Wheeler's performance was as bad as the others, if not worse. At the climax, where the stage directions call for the poignance of the death scene to be punctuated with shots from outside and bursts from duke's Tommy gun, Shep Campbell timed his bursts so sloppily, and the answering off-stage gunfire was so much too loud, that all the lovers' words were lost in a deafening smoky shambles. When the curtain fell at last it was an act of mercy.
The applause, not loud, was conscientiously long enough to permit two curtain calls, one that caught all the Players in motion as they walked to the wings, turned back and collided with one another, and another that revealed the three principals in a brief tableau of human desolation: the director blinking myopically, Shep Campbell looking appropriately fierce for the first time all evening, April Wheeler paralyzed in a formal smile.
