Revolutionary Road

Part 2, Chapter 1 begins the planning phase of the novel. Frank finds a sense of freedom and redemption in the first moments after resolving to go to Paris, but he was initially frightened by April’s idea. That latent fear continues to resurface as the dream of liberty in Europe becomes more real, and thus, more frightening for him. In conjunction, time is first introduced as a subtheme. Time, specifically its measurement as a means of control, ceases to perform its quotidian duty in Part 2. As Frank views the current situation, he feels liberated from the incessant need and worry of the hour, the day of the week, and the date of the month. These liberating moments also coincide with an increase in Frank’s perception of his own masculinity. When Frank deals with Maureen, letting her know that the affair cannot continue, the way he does so is so gentlemanly that he is amazed with himself and his masculinity. Consequently, this newfound sense of self-worth allows him to work harder than he ever has at his job. He even finds a spark of creativity and begins the “Speaking of…” series that will play an important role later on. Time is eventually used as a way to measure each character’s level of conformity or nonconformity; as Frank becomes less seduced by Paris and more by the possibility of success at Knox, he once again becomes concerned with the incessant march of time.

Frank’s improved productivity requires a moment of reflection and opens up the possibility of dialectics. A discussion on Marxism and its possible implementation in the white-collar workplace is an obvious possibility, especially since one of the major catalysts behind the 1950s conformist culture was the Cold War and a fear of communism. Frank’s behavior also lends credence to the hypothesis that a happy worker is a productive worker, and this hypothesis can also be discussed through a Marxist or capitalist lens. For example, from a Marxist perspective, Frank is dissatisfied with his work because he is both alienated from his labor and is exploited (exploited meaning he sells his labor power for less than what he produces). His disillusionment stands in contrast to Helen Givings’s sense of fulfillment through her work, which she illuminates through her father’s axiom: “Hard work […] is the best medicine yet devised for all the ills of man—and of woman” (155). While Helen can be considered a foil for the Wheelers in that she believes fully in the American Dream, Yates undercuts the image of her perfect colonial home—the fruits of her labor—when Helen’s husband turns off his hearing aid so he doesn’t have to listen to his wife. In the first chapter, Frank introduces more of his critique of American culture. He accuses Americans of too much sentimentality. He defines this as a possible result of a degradation of spiritual values and the fear of nuclear war. By sentimentality, he means the “optimistic, smiling-through, easy-way-out” (129) behavior that is personified by Helen. It’s the happy façade used to hide vulnerability and fear.

Chapter 2 is mostly concerned with introducing Shep Campbell in greater depth. Shep represents the alternative American male figure to Frank, the American tough guy and decorated war veteran who comes home, marries, has a family, and works. He is the epitome of Masculinity Against the Backdrop of 1950s Conformist Society. Though he has his rebellious streak, it is checked by the societal need for a strong male figure who obeys the law and cares for his family. Even Shep’s momentary desire for intellectualism illustrates the ease he has with conforming. He realizes that a bohemian or libertine lifestyle is not for him, and so he chooses to live the conformist, suburban lifestyle. Of course, Richard Yates is careful to show that although Shep is a conformist, it by no means fully negates his desire for something else, nor is conformity equated with perfect happiness. Shep has lost his physical attraction to his wife and even feels a sense of indifference toward his boys. He longs for April because she represents for him sexual freedom and adventure. In this way, Yates sets up a central irony in Frank’s pursuit of masculinity in that Shep, the perfect American male archetype—war hero, father, provider—is just as unhappy as anyone else. Additionally, the reveal that Shep is in love with April not only foreshadows their short-lived affair but also parallels the plot of The Petrified Forest. Gabby, April Wheeler’s character, is the love interest of two men in the play, Alan Squier and Boze Hertzlinger.

As aforementioned, Chapter 3 quickly establishes Helen Givings as the conservative paragon of 1950s conformity. On the first page of the chapter, Helen, via free indirect discourse, informs the reader that one reason she loves her home so much is that it is one of the few remaining colonial homes in the district. It is no coincidence that she lives in a pre-Revolutionary War home because Helen Givings is anything but revolutionary. As the area’s real-estate agent, she acts as the gatekeeper for the suburbs, allowing in those she finds worthy of the lifestyle. This notion plays greater importance in Part 3, Chapter 9 when Helen ultimately judges the Wheelers to never have truly belonged. It also shows that Helen grew up with a Protestant work ethic, something that contrasts greatly with everyone else around her. While Frank worries about doing a job worthy of his time, Helen views the value of work in itself. Work is valuable as a means of diversion from human weakness, so to speak. Chapter 3 also briefly introduces John Givings, a character who will play a large role in breaking Frank and April’s relationship. This chapter introduces one more important reoccurring symbol in Howard Givings’s hearing aid. As a means of dealing with the most unpleasant things around him, Howard chooses to ignore them, literally shutting them out of his perception. In most cases, what he ignores is his wife speaking.