If my work has a theme, I suspect it is a simple one: that most human beings are inescapably alone, and therein lies their tragedy.

— Richard Yates

If you don’t try at anything, you can’t fail… it takes back bone to lead the life you want

— Richard Yates

If you wanted to do something absolutely honest, something true, it always turned out to be a thing that had to be done alone.

— Richard Yates

Intelligent, thinking people could take things like this in their stride, just as they took the larger absurdities of deadly dull jobs in the city and deadly dull homes in the suburbs. Economic circumstances might force you to live in this environment, but the important thing was to keep from being contaminated. The important thing, always, was to remember who you were.

— Richard Yates

I seem to have to lost confidence in just about everything else. I've come to believe that only a very, very few matters in the world can ever be trusted to make sense.

— Richard Yates

I still had this idea that there was a whole world of marvelous golden people somewhere, as far ahead of me as the seniors at Rye when I was in the sixth grade; people who knew everything instinctively, who made their lives work out the way they wanted without even trying, who never had to make the best of a bad job because it never occurred to them to do anything less than perfectly the first time. Sort of heroic super-people, all of them beautiful and witty and calm and kind, and I always imagined that when I did find them I'd suddenly know that I Belonged among them, that I was one of them, that I'd been meant to be one of them all along, and everything in the meantime had been a mistake; and they'd know it too. I'd be like the ugly duckling among the swans.

— Richard Yates

Never say anything that doesn't improve on silence.

— Richard Yates

Our ability to measure and apportion time affords an almost endless source of comfort.“Synchronize watches at oh six hundred,” says the infantry captain, and each of his huddled lieutenants finds a respite from fear in the act of bringing two tiny pointers into jeweled alignment while tons of heavy artillery go fluttering overhead; the prosaic, civilian looking dial of the watch has restored, however briefly, an illusion of personal control. Good, it counsels, looking tidily up from the hairs and veins of each terribly vulnerable wrist; fine: so far, everything’s happening right on time…“Oh, let me see now,” says the ancient man, tilting his withered head to wince and blink at the sun in bewildered reminiscence, “my first wife passed away the spring of -” and for a moment he is touched with terror. The spring of what? Past? Future? What is any spring but a mindless rearrangement of cells in the crust of the spinning earth as it floats in endless circuit of its sun? What is the sun itself but one of a billion insensible stars forever going nowhere into nothingness? Infinity! But soon the merciful valves and switches of his brain begin to do their tired work, and “The spring of Nineteen-Ought-Six,” he is able to say. “Or no, wait-” and his blood runs cold again as the galaxies revolve. “Wait! Nineteen-Ought — Four.”… He may have forgotten the shape of his first wife’s smile and the sound of her voice in tears, but by imposing a set of numerals on her death, he has imposed coherence on his own life and on life itself… “Yes sir,” he can say with authority, “nineteen-Ought-Four,” and the stars tonight will please him as tokens of his ultimate heavenly rest. He has brought order out of chaos.

— Richard Yates

So it hadn’t been wrong or dishonest of her to say no this morning, when he asked if she hated him, any more than it had been wrong or dishonest to serve him the elaborate breakfast and to show the elaborate interest in his work, and to kiss him goodbye. The kiss, for that matter, had been exactly right—a perfectly fair, friendly kiss, a kiss for a boy you’d just met at a party, a boy who’d danced with you and made you laugh and walked you home afterward, talking about himself all the way. The only real mistake, the only wrong and dishonest thing, was ever to have seen him as anything more than that. Oh, for a month or two, just for fun, it might be all right to play a game like that with a boy; but all these years! 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.” What a subtle, treacherous thing it was to let yourself go that way! Because once you’d started it was terribly difficult to stop; soon you were saying “I’m sorry, of course you’re right,” and “Whatever you think is best,” and “You’re the most wonderful and valuable thing in the world,” and the next thing you knew all honesty, all truth, was as far away and glimmering, as hopelessly unattainable as the world of the golden people. Then you discovered you were working at life the way the Laurel Players worked at The Petrified Forest, or the way Steve Kick worked at his drums—earnest and sloppy and full of pretension and all wrong; you found you were saying yes when you meant no, and “We’ve got to be together on this thing” when you meant the very opposite; then you were breathing gasoline as if it were flowers and abandoning yourself to a delirium of love under the weight of a clumsy, grunting, red-faced man you didn’t even like—She Campbell!—and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. (p.416-7)

— Richard Yates

The whole point of crying was to quit before you corned it up. The whole point of grief itself was to cut it out while it was still honest, while it still meant something. Because the thing was so easily corrupted, let yourself go and you started embellishing your own sobs.

— Richard Yates