I just finished reading A Tragic Honesty: The Life and Work of Richard Yates by Blake Baily (who has also recently written a bio of John Cheever). Lacking enough time to pleasure read, I had to renew it from the library twice so for about three months I carried this hefty 650 + page book to and from work, hauling it out to read on transit. In the age of e-readers and soft covers, let me tell you, a hard back, very thick book elicits stares. Not that I noticed them really, Mr. Yates‘ life was so engrossing that a couple of times I almost missed my subway/bus stops.
As a self-confessed literary snob, and reader of what I consider fine literature, I’m feeling a bit sheepish that I only discovered Yates last year, because of the pending film treatment of Revolutionary Road. He was writing in my adult lifetime therefore I could have bought his books and helped, at least in a small way, to contribute to his livelihood. That’s probably a ridiculous thought but it does occur to me that a man who is more well-known posthumously as one of the greatest contemporary American writers could have used at least one more reader while he was alive.
Yates did possess a tragic honesty, in his writing and in his life. He lived in ways people couldn’t understand, perhaps not even himself. He wrote about things people didn’t necessarily want to see in the world and recognize in themselves. It occurred to me while reading about his efforts to get those wonderfully crafted stories published in various magazines (esp. his heartbreak over the elusive New Yorker), that the era of reaching career pinnacles is somewhat behind us. The struggle for an agent, publisher, good review, film contract – these are dying goals in an age when you can publish your own blog, thoughts in 140 characters, and books to sell on consignment in stores. Hell, we might not be needing bookstore soon. So reading this biography was in so many ways a look back into an increasing lost time of the great struggle for lasting art.
Yates was one of those creatives who really couldn’t fully see his own talent – all the while using it – and his 
stories were often rejected because his characters seemed “bleak,” the atmosphere “dismal.” In actual fact, he was writing about human foibles and realities that are largely inarticulated, even still. Some criticized the fact that he mined the same field – that of his chaotic childhood, father-less (for all intents and purposes) and mother-ful (always there but terrifically selfish). I just think autobiography is what most artists circle back to. His writing was so much more than a mere account of wrongs done to him. He nailed human intention vs. behaviour – for better or worse. I can’t think of anyone I’ve read who does it better.
Now I’m back to reading (in some cases re-reading) his novels and stories, which are all the richer by knowing what influenced and affected him. Like many artists, he was his own worst enemy, procrastinating writing by poor living habits, and sadly because of his post-war ill health, made worse by his alcoholism. Although I have yet to write my first novel, and have only published one short story, I can certainly relate to the difficulty of having to hold down a responsible “day job” that leaves no free time, physically or mentally, for writing. I fully relate to his frustration with the “PR dodge” an anathema to any kind of creative writing. In true form, he came up with the perfect phrase to encapsulate the rally of many writers between paying the rent and contributing artistically.
Obviously anyone who admires the work of this master should read this book. After I exhaust the far two few books in Yates’ library I plan to go back to the book and author that drove his writing ambition, F. Scott Fitzgerald’s The Great Gatsby Thought I’ve read it numerous times, this time around I want to try to see it through the keen and sensitive writerly eyes of Richard Yates.
Due to editing, for some reason Doug Coupland’s Generation A got left off. Now I’m a huge Coupland fan so I would generally always recommend him, but I’ve also read the new book and it’s well worth the read.
It was very sad to hear that Irish/American teacher/writer, Frank McCourt had died. It got me thinking about the two times I’ve been lucky enough to meet him.
In her new book, February (Anansi, June 2009), Lisa Moore has imagined life after this tragedy for a young family. It’s a powerful novel full of insight into how life goes on, in spite of us, even if it leaves broken slivers of hearts in its wake.
The Factory Voice is the debut novel from Canadian poet Jeanette Lynes. It’s set in an airplane factory in Fort William, ON (now Thunder Bay) during the war, and revolves around the lives of four women workers. I highly recommend reading it. It’s a delightful book.
Congrats to Lee Henderson who won the Ethel Wilson Fiction Prize for 
BOUND TO WRITE 