The first of many things to love about this book is the bold-as-you-like title. Eleven Kinds of Loneliness. Eleven Kinds of Loneliness? Man goes into publisher's office:
Man: I've got this book of stories I want you to publish.
Publisher: Oh yeah? Let me see that.
Man: Try this one.
Publisher: [reading] Well, this is gloomy as hell, buddy, but there's something there. Maybe we can get them in with a cheery title, they won't know what hit 'em.
Man: I have a title.
Publisher: How many stories have you got for the book?
Man: Eleven.
Publisher: And what's your title?
Man: ...Eleven Kinds of Loneliness.
Publisher: Don't let the door hit your ass on the way out, buddy.
And yet - it worked. Eleven Kinds of Loneliness was published, and acclaimed, shortly after Revolutionary Road. Didn't sell, of course, but what do you expect? It is gloomy as hell - but there's most certainly something there. More than something: misery, humiliation, pity, desperation, weakness, ignorance, bullying - oh and loneliness. But despite all this, the stories are bright-eyed and pink-tongued. They shine or bristle with life, even if it's not the sort of life you would conceivably care to share in. This is the sort of thing you get, from the second story, The Best of Everything, about a couple who are about to get married without either really wanting to:
"She'd have time for a long talk with her mother that night, and the next morning, "bright and early" (her eyes stung at the thought of her mother's plain, happy face), they would start getting dressed for the wedding. Then the church and the ceremony, and then the reception (Would her father get drunk? Would Muriel Ketchel sulk about not being a bridesmaid?), and finally the train to Atlantic City, and the hotel. But from the hotel on she couldn't plan any more. A door would lock behind her and there would be a wild, fantastic silence, and nobody in all the world but Ralph to lead the way."
The pleasure in Yates's stories is not some sort of misanthopric delight in seeing the downtrodden trodden yet further down. His characters are unfortunate yet resilient (admittedly because sometimes they're unaware how unfortunate they are); they bear their fate with stoicism, and there are no culpably dramatic Perfect-Day-for-Bananafish endings. Even, in a rare moment of generosity, there is compassionate relief for a character at the end of his story (A Glutton for Punishment), albeit only in the sense that he gets to share his burden with his wife, rather than concealing it as he had intended to.
Whatever the pleasure, it's undeniable and unopposable, because the stories kept me reopening them - just one more - like some sort of anti-candy, as unsweet as can be but nonetheless addictive.
