Yates Richard Quotes

We've searched our database for all the quotes and captions related to Yates Richard. Here they are! All 100 of them:

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 (Revolutionary Road)
It's a disease. Nobody thinks or feels or cares any more; nobody gets excited or believes in anything except their own comfortable little God damn mediocrity.
Richard Yates (Revolutionary Road)
No one forgets the truth; they just get better at lying.
Richard Yates (Revolutionary Road)
Being alone has nothing to do with how many people are around.
Richard Yates (Revolutionary Road)
if you don’t try at anything, you can’t fail… it takes back bone to lead the life you want
Richard Yates (Revolutionary Road)
Never say anything that doesn't improve on silence.
Richard Yates (A Good School)
I'm only interested in stories that are about the crushing of the human heart.
Richard Yates
Are artists and writers the only people entitled to lives of their own?
Richard Yates (Revolutionary Road)
You're painfully alive in a drugged and dying culture.
Richard Yates (Revolutionary Road)
The hell with "love" anyway, and with every other phony, time-wasting, half-assed emotion in the world.
Richard Yates (Revolutionary Road)
People did change, and a change could be a bloom as well as a withering...
Richard Yates (Revolutionary Road)
And do you know a funny thing? I'm almost fifty years old and I've never understood anything in my whole life.
Richard Yates (The Easter Parade)
He couldn't even tell whether he was angry or contrite, whether it was forgiveness he wanted or the power to forgive.
Richard Yates (Revolutionary Road)
You want to play house, you got to have a job. You want to play very nice house, very sweet house, then 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.
Richard Yates (Revolutionary Road)
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
She just happened to feel like it. Wasn’t that after all, the only reason there was? Had she ever had a less selfish, more complicated reason for doing anything in her life?
Richard Yates (Revolutionary Road)
Why did everything always change when all you wanted, all you had ever humbly asked of whatever God there might be, was that certain things be allowed to stay the same?
Richard Yates
He had won but he didn't feel like a winner.
Richard Yates (Revolutionary Road)
Now you’ve said it. The hopeless emptiness. Hell, plenty of people are on to the emptiness part; out where I used to work, on the Coast, that’s all we ever talked about. We’d sit around talking about emptiness all night. Nobody ever said ‘hopeless,’ though; that’s where we’d chicken out. Because maybe it does take a certain amount of guts to see the emptiness, but it takes a whole hell of a lot more to see the hopelessness. And I guess when you do see the hopelessness, that’s when there’s nothing to do but take off. If you can
Richard Yates (Revolutionary Road)
Our ability to measure and apportion time affords an almost endless source of comfort.
Richard Yates (Revolutionary Road)
The whole point of crying was to quit before you cornied 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 (Revolutionary Road)
Hopeless emptiness. Now you've said it. Plenty of people are onto the emptiness, but it takes real guts to see the hopelessness.
Richard Yates
Know what we did, Lucy? You and me? We spent our whole lives yearning. Isn't that the God damndest thing?
Richard Yates (Young Hearts Crying)
God knows there certainly ought to be a window around here somewhere, for all of us.
Richard Yates (Eleven Kinds of Loneliness)
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 occured to them to do anything less then 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 (Revolutionary Road)
Dying for love might be pitiable, but it wasn't much different, finally, from any other kind of dying.
Richard Yates (Cold Spring Harbor)
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 (Revolutionary Road)
In avoiding specific goals he had avoided specific limitations. For the time being the world, life itself, could be his chosen field.
Richard Yates (Revolutionary Road)
She was calm and quiet now with knowing what she had always known, what neither her parents nor Aunt Claire nor Frank nor anyone else had ever had to teach her: that if you wanted something to do something absolutely honest, something true, it always turned out to be a thing that had to be done alone.
Richard Yates (Revolutionary Road)
He found it so easy and so pleasant to cry that he didn’t try to stop for a while, until he realized he was forcing his sobs a little, exaggerating their depth with unnecessary shudders. … The whole point of crying is to quit before you coined 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
Richard Yates
Hard work, is the best medicine yet devised for all the ills of man- and of woman.
Richard Yates (Revolutionary Road)
The Revolutionary Hill Estates had not been designed to accommodate a tragedy. Even at night, as if on purpose, the development held no looming shadows and no gaunt silhouettes. It was invincibly cheerful, a toyland of white and pastel houses whose bright, uncurtained windows winked blandly through a dappling of green and yellow leaves … A man running down these streets in desperate grief was indecently out of place.
Richard Yates (Revolutionary Road)
his job was the very least important part of his life, never to be mentioned except in irony.
Richard Yates
Oh, you’ll what? You’ll leave me? What’s that supposed to be—a threat or a promise?
Richard Yates (Revolutionary Road)
They think the way to be a poet is to wear funny clothes and write sideways on the page.
Richard Yates (The Easter Parade)
you found you were saying yes when you meant no, and “We’ve got to be together in this thing” when you meant the very opposite ... and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. And how could anyone else be blamed for that?
Richard Yates (Revolutionary Road)
That’s how we both got committed to this enormous delusion—because that’s what it is, an enormous, obscene delusion—this idea that people have to resign from real life and ‘settle down’ when they have families.
Richard Yates (Revolutionary Road)
Your cowardly self-delusions about “love” when you know as well as I do that there’s never been anything between us but contempt and distrust and a terrible sickly dependence on each other’s weakness- that’s why. That’s why I couldn’t stop laughing about the Inability to Love, and that’s why I can’t stand to let you touch me, and that’s why I’ll never again believe in anything you think, let alone anything you say
Richard Yates (Revolutionary Road)
It takes backbone to lead the life you want.
Richard Yates (Revolutionary Road)
Wish I didn't have to go to work tomorrow", he said. "Don't, then. Stay home." "No. I guess I've got to go.
Richard Yates (Revolutionary Road)
she had always been ready to take off the minute she happened to feel like it ("Don't talk to me that way, Frank, or I'm leaving. I mean it") or the minute anything went wrong.
Richard Yates (Revolutionary Road)
They knew what forgiveness was; they were willing to take him for better or worse; they loved him.
Richard Yates (Revolutionary Road)
For a year she found an exquisite pain - almost pleasure - in facing the world as if she didn't care. Look at me, she would say to herself in the middle of a trying day. Look at me: I'm surviving; I'm coping; I'm in control of all this.
Richard Yates (The Easter Parade)
It depressed him to consider how much energy he had wasted, over the years, in the self-denying posture of apology. From now on, whatever else his life might hold, there would be no more apologies.
Richard Yates (Revolutionary Road)
The hell with this aching, suffering, callow, half-assed delusion that he was in "love" with her. The hell with "love" anyway, and with every other phony, time-wasting, half-assed emotion in the world.
Richard Yates (Revolutionary Road)
Neither of the Grimes sisters would have a happy life, and looking back it always seemed that the trouble began with their parents’ divorce.
Richard Yates (The Easter Parade)
A man could rant and smash and grapple with the State Police, and still the sprinklers whirled at dusk on every lawn and the television droned in every living room.
Richard Yates (Revolutionary Road)
As an intense, nicotine-stained, Jean-Paul Sartre sort of man, wasn't it simple logic to expect that he'd be limited to intense, nicotine-stained Jean-Paul Sartre sorts of Women?
Richard Yates (Revolutionary Road)
I want to retain my own identity. Therefore the thing I’m most anxious to avoid is any kind of work that can be considered ‘interesting’ in its own right. I want something that can’t possibly touch me. I want some big, swollen corporation that’s been bumbling along making money in its sleep for a hundred years, where they have to hire eight guys for every one job because none of them can be expected to care about whatever boring thing it is that they are supposed to be doing. I want to go into that kind of place and say, Look. You can have my body and my nice college-boy smile for so many hours a day, in exchange for so many dollars, and beyond that we’ll leave each other strictly alone.
Richard Yates (Revolutionary Road)
If you haven't written a novel by the time you're forty you never will!
Richard Yates
i mean talk about decadence," he declared, "how decadent can a society get? Look at it this way. This country's probably the psychiatric, psychoanalytical capital of the world. Old Freud himself could never've dreamed up a more devoted bunch of disciples than the population of the United States - isn't that right? Our whole damn culture is geared to it; it's the new religion; it's everybody's intellectual and spiritual sugar-tit. And for all that, look what happens when a man really does blow his top. Call the Troopers, get him out of sight quick, hustle him off and lock him up before he wakes the neighbors. Christ's sake, when it comes to any kind of showdown we're still in the Middle Ages. It's as if everybody'd made this tacit agreement to live in a state of total self-deception. The hell with reality! Let's have a whole bunch of cute little winding roads and cute little houses painted white and pink and baby blue; let's all be good consumers and have a lot of Togetherness and bring our children up in a bath of sentimentality -- and if old reality ever does pop out and say Boo we'll all get busy and pretend it never happened.
Richard Yates (Revolutionary Road)
What a subtle, treacherous thing it was to let yourself go that way! Because once you've 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 int he 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.
Richard Yates (Revolutionary Road)
Everything is selling. Nothing happens in this world, nothing comes into this world, until somebody makes a sale.
Richard Yates (Revolutionary Road)
I know I had it - I could feel it, the way you feel blood in your veins - and now I reach for it and reach for it, and it isn't there.
Richard Yates (The Easter Parade)
They say that we are better educated than our parents' generation. What they mean is that we go to school longer. It is not the same thing.
Richard Yates
The place had filled him with a sense of wisdom hovering just out of reach, of unspeakable grace prepared and waiting just around the corner, but he’d walked himself weak down its endless blue streets and all the people who knew how to live had kept their tantalizing secret to themselves.
Richard Yates (Revolutionary Road)
Wasn’t it true, then, that everything in his life from that point on had been a succession of things he hadn’t really wanted to do?
Richard Yates (Revolutionary Road)
The whole point of crying was to quit before you cornied it up.
Richard Yates (Revolutionary Road)
Why couldn't she stop talking? Did all lonely people have that problem?
Richard Yates (A Special Providence)
Not the prettiest girl in the world, maybe, but cute and quick and fun to have around.
Richard Yates (Revolutionary Road)
I see,' she said. And when would she ever learn to stop saying 'I see' about things she didn't see at all?
Richard Yates (The Easter Parade)
The hell with reality! Let's have a whole bunch of cute little winding roads and cute little houses painted white and pink and baby blue; let's all be good consumers and have a lot of Togetherness and bring our children up in a bath of sentimentality -- and if old reality ever does pop out and say Boo we'll all get busy and pretend it never happened.
Richard Yates (Revolutionary Road)
He took each fact as it came and let it slip painlessly into the back of his mind, thinking, Okay, okay, I'll think about that one later; and that one; and that one; so that the alert, front part of his mind could remain free enough to keep him in command of the situation.
Richard Yates (Revolutionary Road)
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.
Richard Yates
that 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 (Revolutionary Road)
How small and neat and comically serious the other men looked, with their grey-flecked crew cuts and their button-down collars and their brisk little hurrying feet! There were endless desperate swarms of them, hurrying through the station and the streets, and an hour from now they would all be still. The waiting mid-town office buildings would swallow them up and contain them, so that to stand in one tower looking out across the canyon to another would be to inspect a great silent insectarium displaying hundreds of tiny pink men in white shirts, forever shifting papers and frowning into telephones, acting out their passionate little dumb show under the supreme indifference of the rolling spring clouds.
Richard Yates (Revolutionary Road)
He was happy enough to stay in this jumbled, lively place where the drinks were cheap and the band was loud and he could feel the inner peace that comes from knowing that all your clothes are new and perfectly fitted.
Richard Yates (Revolutionary Road)
The subjects of her talk didn't matter; he knew what she was really saying. Helpless and gentle, small and tired and anxious to please, she was asking him to agree that her life was not a failure.
Richard Yates (A Special Providence)
Some things you did were worth regretting; others not.
Richard Yates (Cold Spring Harbor)
Oh-h-h-h— Hidey, tidey, Christ Almighty Who the hell are we? Flim, flam, God damn We’re the infantry…
Richard Yates (Revolutionary Road)
Whoever said you can't love ridiculous things? God knows i love you, and you're the most ridiculous woman I ever met!
Richard Yates (A Special Providence)
The gathering disorder of their lives might still be sorted out and made to fit these rooms
Richard Yates (Revolutionary Road)
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…
Richard Yates (Revolutionary Road)
A me pare che un uomo che permette al suo consulente matrimoniale di prendere decisioni al posto suo non è…be', non è un uomo vero
Richard Yates (Disturbing the Peace)
She never seemed to lose her temper, but it would almost have been better if she did, for it was the flat, dry, passionless redundance of her scolding that got everybody down.
Richard Yates (Eleven Kinds of Loneliness)
And when the sobs finally begin they are long, scalding ones, the kind that come again and again.
Richard Yates (The Collected Stories)
How could you ever learn to trust the things you made up?
Richard Yates (Young Hearts Crying)
Like frustrated suburban wives we fed on each other’s discontent; we became divided into mean little cliques and subdivided into jealously shifting pairs of buddies, and we pieced out our idleness with gossip.
Richard Yates (Eleven Kinds of Loneliness)
You see? I don’t know what ‘mature’ means, either, and you could talk all night and I still wouldn’t know. It’s all just words to me, Frank. I watch you talking and I think: Isn’t that amazing? He really does think that way; these words really do mean something to him. Sometimes it seems I’ve been watching people talk and thinking that all my life. And maybe it means there’s something awful the matter with me, but it’s true.
Richard Yates (Revolutionary Road)
almost time to go home—and he had come to rely on the desolate wastes of time that lay between these pleasures as an invalid comes to rely on the certainty of recurring pain. It was a part of him.
Richard Yates (Revolutionary Road)
You still felt that life was passing you by? Sort of. 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 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 (Revolutionary Road)
It always seemed to me," she said at last, "that it must require a great deal of courage to be an artist, if only because the creative process is such a lonely one. I should imagine it must be all the more difficult for a woman.
Richard Yates (A Special Providence)
As a writer, I like the list of "things to strive for" that Richard Yates kept above his typewriter: genuine clarity genuine feeling the right word the exact English sentence the eloquent detail the rigorous dramatization of story
Richard Yates
She had found in the past that a voluptuously long, hot shower cold be made to seem almost as health-giving as a night's sleep; she had learned too that taking exquisite pains over the selection and putting-on of clothes could sometimes be as good a way as any of helping the hours to pass.
Richard Yates (Young Hearts Crying)
Synchronize watches at oh six hundred' says the infantry captain, and each of his huddled lieutenants finds 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.
Richard Yates (Revolutionary Road)
Her voice had been the only sound in the room for ten minutes or more, and it had been continuous. She seemed keenly aware of this, but aware too that if she allowed herself to stop the house would fill with a silence as thick as water, an impossibly deep, wide pool in which she would flounder and drown.
Richard Yates (Revolutionary Road)
It haunted him all night, while he slept alone; it was still there in the morning, when he swallowed his coffee and backed down the driveway in the crumpled old Ford. And riding to work, one of the youngest and healthiest passengers on the train, he sat with the look of a man condemned to a very slow, painless death. He felt middle-aged.
Richard Yates (Revolutionary Road)
Wasn’t it true, then, that everything in his life from that point on had been a succession of things he hadn’t really wanted to do? Taking a hopelessly dull job to prove he could be as responsible as any other family man, moving to an overpriced, genteel apartment to prove his mature belief in the fundamentals of orderliness and good health, having another child to prove that the first one hadn’t been a mistake, buying a house in the country because that was the next logical step and he had to prove himself capable of taking it. Proving, proving; and for no other reason than that he was married to a woman who had somehow managed to put him forever on the defensive, who loved him when he was nice, who lived according to what she happened to feel like doing and who might at any time—this was the hell of it—who might at any time of day or night just happen to feel like leaving him. It was as ludicrous and as simple as that.
Richard Yates (Revolutionary Road)
Dan Rosenthal rose happily from his drawing board to shake hands on hearing there was a baby on the way. But after that brief ceremony, when we'd both sat down again, he peered at me reflectively. "How can you be a father," he asked, "when you still look like a son?" 
Richard Yates (The Collected Stories)
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 afterwards, 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 Kovick 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—Shep 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 (Revolutionary Road)
my first wife passed away in 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!
Richard Yates (Revolutionary Road)
The whole point of crying was to quit before you cornied 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, or you started telling about the Wheelers with a sad, sentimental smile and saying Frank was courageous, and then what the hell did you have?
Richard Yates (Revolutionary Road)
They could lie drowsing now under the sound of kindly voices in the living room, a sound whose intricately rhythmic rise and fall would slowly turn into the shape of their dreams. And if they came awake later to turn over and reach with their toes for new cool places in the sheets, they knew the sound would still be there—one voice very deep and the other soft and pretty, talking and talking, as substantial and soothing as a blue range of mountains seen from far away.
Richard Yates (Revolutionary Road)
She cried because she'd had such high, high hopes about the Wheelers tonight and now she was terribly, terribly, terribly disappointed. She cried because she was fifty six years old and her feet were ugly and swollen and horrible; she cried because none of the girls had liked her at school and none of the boys had liked her later; she cried because Howard Givings was the only man who'd ever asked her to marry him, and because she'd done it, and because her only child was insane.
Richard Yates (Revolutionary Road)
Don't worry, I can't be bothered! You're not worth the trouble it would take to hit you! You're not worth the powder it would take to blow you up. You are an empty, empty, hollow shell of a woman. I mean, what the hell are you doing in my house if you hate me so much? Why the hell are you married to me? What the hell are you doing carrying my child? I mean, why didn't you just get rid of it when you had the chance? Because listen to me, listen to me, I got news for you - I wish to God that you had!
Richard Yates (Revolutionary Road)
She quickly took a drink to hide her mouth. That mannerism had never changed: whenever Sarah was embarrassed, after she'd told a joke and was waiting for the laughter, or when she was afraid she'd talked too much, she would go for her mouth as if to cover nakedness - with Cokes or popsicles as a child, with drinks or cigarettes now. Maybe all the years of splayed, protruding teeth, and then of braces, had made her mouth the most vulnerable part of her for life.
Richard Yates (The Easter Parade)
He found it so easy and so pleasant to cry that he didn't try to stop for a while, until he realized he was forcing his sobs a little, exaggerating their depth with unnecessary shudders. Then, ashamed of himself, he bent over and carefully set his drink on the grass, go out his handkerchief and blew his nose. The whole point of crying was to quit before you cornied it up. The whole point of grief 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, or you started telling about the Wheelers with a sad, sentimental smile and saying Frank was courageous, and then what the hell did you have?
Richard Yates (Revolutionary Road)
Nothing had warned him that he might be overwhelmed by the swaying, shining vision of a girl he hadn’t seen in years, a girl whose every glance and gesture could make his throat fill up with longing (“Wouldn’t you like to be loved by me?”), and that then before his very eyes she would dissolve and change into the graceless, suffering creature whose existence he tried every day of his life to deny but whom he knew as well and as painfully as he knew himself, a gaunt constricted woman whose red eyes flashed reproach, whose false smile in the curtain call was as homely as his own sore feet, his own damp climbing underwear and his own sour smell.
Richard Yates (Revolutionary Road)
When you wrote it didn't matter if hysteria sometimes came up in your face and voice (unless, of course, you let it find its way into your "literary voice") because writing was done in merciful privacy and silence. Even if you were partly out of your mind it might turn out to be all right: you could try for control even harder than Blanche Dubois was said to have tried, and with luck you could still bring off a sense of order and sanity on the page for the reader. Reading, after all, was a thing done in privacy and silence too.
Richard Yates (Young Hearts Crying)
She had never heard the word 'intellectual' used as a noun before she went to Barnard, and she took it to heart. It was a brave noun, a proud noun, a noun suggesting lifelong dedication to lofty things and a cool disdain for the commonplace. An intellectual might lose her virginity to a soldier in the park, but she could learn to look back on it with wry, amused detachment. An intellectual might have a mother who showed her underpants when drunk, but she wouldn't let it bother her. And Emily Grimes might not be an intellectual yet, but if she took copious notes in even the dullest of her classes, and if she read every night until her eyes ached, it was only a question of time.
Richard Yates (The Easter Parade)