Rev Road key quotes

It didn’t even matter that bearing two children had left her a shade too heavy in the hips and thighs

Physical of description of April. A physical representation of how motherhood has changed her as a person. Specific reference to April’s physical features (especially in such an unflattering way) so early on in the novel reflects how American society in the 1950s valued women largely based on their physical attributes and the role set out for them. Chapter 1

The very first chapter of the novel is not from either Frank or April’s perspective - Yates uses an omniscient narrator. This gives us an image of how everyone else perceives Frank and April which is then juxtaposed by the reality of their relationship that is revealed shortly after through a heterodiegetic narrator in the rest of the novel (?). Establishes the idea of image vs reality as a key theme in the novel.

Point about the narrative perspective of the first chapter

She had attended one of the leading dramatic schools

One of the few times that April’s drama background is mentioned. The fact that this is brought up at the beginning but rarely referenced after illustrates how the confinement of suburbia has stripped April of any identity or purpose beyond that of a housewife. Although the play at the beginning of the novel could indicate that April has already transcended “the housewife syndrome” (Friedan), Yates soon dissipates this illusion. Chapter 1

she seemed ideally cast in the role

Establishing a clear link between April’s story and that of Gabrielle, her character in The Petrified Forest. Both RR and TPF are stories of failed relationships ending in the death of one of the partners. Borne from self-induced actions that they believe is undertaking the best course of action for the relationship. Both A and G have dreams bigger than the men around them and are drivers for change/revolution and want to travel to Paris, but are trapped between two identities. However, the fact that the play doesn’t go well adds an extra layer of desperation, implying that even the failed relationship of Gabrielle and Alan is more successful than the Wheelers who lack the passion of the doomed couple. Chapter 1

In which April wheeler’s performance was as bad as the others, if not worse

Description of just how bad April was in the play. The fact that her acting ended up being worse than everyone else’s could foreshadow how she is unable to fulfil the role of the perfect suburban mother as well as everyone else. Chapter 1

anyone happening to glance at Frank… would have said he looked more like her suitor than her husband

First mention of Frank in the novel. Early illustration of how Frank and April are more suited as a casual relationship than as a marriage, foreshadowing - link to April’s quote from the abortion chapter when she talks about how “the only real mistake… was to ever have seen him as anything more” than a “boy”. Also, by choosing the narrative perspective of an audience member (“anyone happening to glance…”), shows from early on how their relationship is dictated by outside perspectives of their relationship Chapter 1

Franklin H. Wheeler was among the few who bucked the current.

First line of the chapter, indicating Frank as being different. However, this quote could be interpreted two ways - either Frank is revolutionary, different to everyone else around him, or it is simply a description of him moving in the opposite direction to everyone as he heads “towards the stage door”. Given what we see of Frank later on in the novel, the latter is probably true - externally, he tries to seem revolutionary and different but in reality, he is no different to anyone else (conformity, masculinity. Chapter 2

unemphatic good looks that an advertising photographer might use to portray the discerning consumer

Description of Frank’s looks. Quite literally describing him as unremarkable and the same as everyone else. By immediately linking Frank to the appearance of a “consumer”, highlights how perfectly he fits in the consumerist environment of suburban America and foreshadowing his deep-down, hidden resistance to change. Chapter 2

his face did have an unusual mobility… it was able to suggest wholly different personalities

Description of Frank’s face. Reflects his duplicitous, fickle nature and foreshadows how his external projections juxtapose his inner beliefs. Also, by treating his face as its own separate entity, is adding a somewhat sinister element to Frank, again foreshadowing how his ability to act like someone he’s not ultimately comes at a cost to his family with the Paris Plan and its unravelling. Chapter 2

stultified at what he liked to call “the dullest job you can possibly imagine”

Frank’s description of his job. Verb choice has connotations of boredom and lethargy, contributing to the semantic field of ennui - e.g. superlative. The fact that “he liked to call” his job so dull suggests he derives a sense of pleasure from the mundanity of his job (perhaps because it gave him something to hide behind and didn’t force him to actually consider what he wanted in life) OR that he takes pleasure from criticising mundane corporate jobs like his own - again part of his anti-conformist facade. P1C2

he had drawn strength from a mental projection… pushing his way through jubilant backstage crowds to claim her first tearful kiss

Frank imagining what the evening would be like. The first of his many fantasies/imaginings about April, revealing to the audience how he wishes April would behave. His wish for April to assume a typical subservient, wifely role is evidenced by the verb choice, which has connotations of ownership and control. There is also a juxtaposition between the powerful, masculine connotations of him “pushing” versus her “tearful”, emotional nature, mirroring the typical gender expectations of 1950s America and implying Frank almost wants April to be dependent on him - the stoic, manly man of the family. Could link to April’s later quote about how “there’s never been anything between us but… a terrible sickly dependance on each other’s weaknesses”. Also link to Leif Bull quote “imagined scenarios are clearly informed by the kind of sanitised conservativism he otherwise rails against” P1C2

she would dissolve and change into the graceless, suffering creature whose existence he tried every day of his life to deny

Frank describing what he knew would happen to April after the play. Extremely cruel, unloving tone, as reinforced by the hyperbolic description of how fervently he tried to “deny” the creature’s “existence”. This verb choice also reflects the Wheeler’s tendency to ignore the problems within their marriage, which contributes to their downfall. Also, dehumanises her through the metaphor of “creature” (repeated metaphor used to describe April, link to lack of respect for women), verb choice of “dissolve” also has uncomfortable, graphic connotations that furthers this sense of dehumanisation and loathing. P1C2

most of her memories were crisply told and hard to sentimentalize (“I always knew nobody cared about me

Frank on how April describes her past/memories. Good quote to link in to her parents and her childhood, could also link into discussions about mental health, especially with the confident, matter-of-fact tone of her declarative. Verb choice of “sentimentalize” could also link to ideas of conformity and suburbia, as Yates repeats ideas of “sentimentality” later when Frank is critiquing the flaws of suburbia. The fact that April did not have the same “sentimental” childhood as everyone else perhaps could explain why she is not as enamoured with suburbia as everyone else and could explain her true revolutionary spirit. P1C2

You’re the most interesting person I’ve ever met

April quote from when Frank was having a flashback to the early days of their relationship. Structurally positioned as the last line of the flashback. Later undermined by April in her chapter as she describes it as one of her “easy, agreeable lies” P1C2

imitation of Madame Bovary

Frank’s description of April’s behaviour. Referencing an old French novel about a woman who lives beyond her means to escape the ennui of provincial life. Prompted a prominent trope in the 19th century of female protagonists with a chronic dissatisfaction with their lives. Suggests he views April as trying to rise above her station and chronically unhappy. These things are arguably true, but given Frank is seemingly so against conformity and suburbia, we as the reader would expect him to sympathise with these problems but seems to criticise and belittle April’s struggles. Not only reveals Frank’s deep-seated comfort with his suburban life, also reflects wider societal pattern of ignoring “the housewife syndrome” (Friedan) in 1950s suburbia. P1C2

I don’t happen to fit the role of dumb, insensitive, suburban husband: you’ve been trying to hang that one on me ever since we moved out here

Frank telling April he is not a typical suburban husband. Defiant, aggressive tone suggests an absolute certainty in his declaratives. Personal pronoun of “you” suggests he blames April for trying to get him to fulfil the typical suburban role. However, this is later undermined as we see that in the rest of the novel, the dynamic in their marriage is actually the opposite of what Frank describes - deep-down, he does truly long to fulfil the role of the typical suburban husband, and it is he who is trying to pressure April to do the same and fit the stereotypical housewife role. P1C2

old weapons to rip the scabs off old wounds

Description of the fight escalating. Metaphor demonstrates the vicious nature of their marriage, with the repetition of the adjective “old” suggesting arguments like this are a long-established habit whilst also creating a resigned tone. P1C2

All your precious moral maxims and your ‘love’

April denouncing Frank’s sweeping declaratives and his ‘love’. Undermining him, demonstrating the loveless nature of their marriage P1C2

Just because you’ve got me safely in a trap-

April accusing Frank of keeping her in a trap. Metaphor reflective of the confinement of women in American suburbia, link to Freidan and “the housewife syndrome”. The fact that she’s then cut off by Frank’s disparaging comments demonstrates American society’s reluctance to acknowledge the reality of the suburban housewife and a continual tendance to ignore women’s problems. P1C2

You in a trap! You in a trap! Jesus don’t make me laugh

Frank’s response to April saying she was in a trap. Repeated exclamation conveys a blatant disregarding of April’s struggles, whilst the verb choice and implication that the idea of her being in a trap is laughable reflects the wider issue of American society refusing to acknowledge the difficulties faced by housewives confined in suburbia (link to Friedan) P1C2

by any stretch of the imagination you can call yourself a man!

April accusing Frank of not being a man, the comment that ultimately provokes him to try to hit her. Link to the quote about how during their argument “urged them harder and deeper into each other’s weakest point”

he swang out one trembling fist

Frank’s reaction to April insulting her masculinity. His choice to use violence is perhaps an attempt to reaffirm and demonstrate his masculinity, given violence and aggression were typically perceived as masculine traits in 1950s America. This is reinforced by the fact that Yates uses the motif of hands as a metaphor for Frank’s masculinity. The adjective choice and the fact that he was unable to form a verbal response highlights his intense, almost visceral reaction to April’s comment, demonstrating his insecurity in his masculinity. P1C2

It does have the picture window; I guess there’s no escaping that

April’s reaction to seeing the picture window when looking around their house for the first time. “picture window” = metaphor symbolising how Frank and April are constantly observed in the suburbs and how their relationship is affected by the perceptions/expectations of others. Also symbolises April’s confinement - she can see outside (see and envision the future she could have) but nevertheless remains stuck in her own home. This is further indicated by the fact that it is April who most strongly objects to the picture window, whereas Frank is more willing to tolerate it. Verb choice of “escaping” - inescapability of suburbs and domesticity.

“leave me alone” (repeated), “I don’t particularly want to talk about it”

April repeatedly asking Frank to leave her alone, to stop talking. Repeated imperatives indicate a desperate attempt to regain some control. Frank disregards this - frequently ignores April’s wishes, foreshadowing.

stolidly pushing and hauling… wearing a man’s shirt

Description of April mowing the grass. Her clothing serves as a physical representation of her assuming a more masculine role (link to conventional gender roles in 1950s suburbia). Adjective choices and adverb also have very masculine, forceful connotations.

a command to clench them into fists would’ve sent him whimpering to his knees

Description of the pain in his hands. Demonstrates his inability to fulfil his masculine role (“clench them into fists”), further demonstrated by the infantile connotations of the verb choice

when they lay loose and still on the hospital sheet at last they still looked stronger and better than his son’s

Frank comparing his hands to his fathers’ on his death bed. Use of comparatives connotes Frank’s insecurity in his masculinity and his belief that he will never be able to fulfil his father’s masculine role. The fact that this is what Frank is thinking about when is father is dying (“loose and still”) sits rather uncomfortably with the reader and suggests a lack of emotional attachment with his father OR just him being really self-centered. Could bring in 2 different critical approaches - gender = insecurity in masculinity created by a patriarchal society that seeks to pit men against each other, Freudian = every man hates his dad

carpentry tools… would be snatched away

Description of Frank’s father taking away the carpentry tools. Verb choice suggests a level of powerlessness within Frank

his father would shout over the scream of the power saw

Frank’s father shouting at him whilst he’s using the “carpentry tools”. Semantic field of aggression plus personification of the power saw creates a menacing atmosphere, as if his failure in using these tools is threatening his masculinity.

humilation

Emotion Frank felt when using his father’s power tools

God only knew what kind of a time they [“the headshrinkers”] would have with April

Frank basically saying April’s parents really messed her up. Almost hyperbolic description of April’s mental state suggests a lack of concern or sympathy for April, rather depicting April as a source of entertainment for these “headshrinkers” (“what kind of a time”). Even his use of the term “headshrinkers” could be seen as rather derogatory, although could simply be reflective of conventional attitudes towards mental health in 1950s USA

flickering caricatures of the twenties, the Playboy and the Flapper

How Frank imagines April’s parents. Verb choice suggests a level of unattainability, impermanence, perhaps reflecting how absent they were in April’s childhood. Suggests Frank almost has a romanticised image of April’s childhood? - link this idea to the quote about his “envy” for how “dramatic a story” April had

a reverent silent promise, soon to be broken, that he would never again disparage it

Frank promising (and then breaking that promise) that he won’t talk badly about April’s childhood. Shows how Frank’s words are often meaningless, the issues with communication in their marriage and also his lack of regard for April’s feelings and wishes

industrial perfection of cleanliness

Description of how clean the kitchen is. Demonstrates that despite her resistance, April does actually fill the role of the perfect housewife externally at least.

at least it was a man’s work

Frank talking about how he enjoyed making the stone path. Shows his subscription to typical ideas surrounding gender in the patriarchal society that was 1950s America

I love you when you’re nice

Flashback to something April said to Frank once about how she feels about him. Adding a condition to their love demonstrates the dysfunctional nature of their marriage, also implies a level of cruelty within Frank

half the fun of being married was that it was just like having an affair

Flashback to Frank and April as newly-weds. Reflects how their relationship was better left as an affair rather than becoming anything more (link to April quote about seeing him as anything more than a boy)

no single moment of his life had ever contained a better proof of manhood than… holding that tamed, submissive girl

Frank’s reaction after April says she will keep the baby. Adjective choice to describe April plus describing her as a “girl” (something F repeatedly does throughout the novel) suggests Frank relishes in his ability to control and persuade April and cajole her into fulfilling the role of the perfect housewife. Also suggests his confidence in his own masculinity is inextricably tied to those surround him and his ability to fulfil the role of husband/father.

And I didn’t even want a baby… isn’t that the damnedest thing?

Frank after the flashback to April’s first pregnancies, moving back to the present in terms of narrative perspective. Makes Frank seem rather uncaring, given he almost seems to express a sense of regret and having had their children. Also, can be used of evidence of an almost circular structure within the novel, as Frank yet again argues against the abortion in part 3 but ends up wishing April had gotten rid of the baby. In posing a rhetorical question, Yates is almost establishing more of a rapport/more communication with the reader than exists between Frank and April

The children had run to [April] and hidden their faces in her trousers

Last line of the chapter, the children running to April after Frank screamed at them. Highlights how Frank has failed in his role as father (or has he? Could explore typical expectations of gender dynamics in 1950s - father = discipline, harsh, compared to mother’s love). Specific reference to April’s “trousers” though, typically masc. connotations, suggests Frank’s masculinity has been threatened by his family.

he felt as if he were sinking helplessly into the cushions… like a man in quicksand

Frank’s feeling of entrapment whilst sitting reading to his children. Reflects how he feels confined and entrapped in this domestic environment, as reinforced by simile of him sinking into the “cushions”. Second simile = inescapability. Could seem rather ironic/hypocritical to the reader given Frank had dismissed April’s feelings of entrapment in this domestic suburban environment.

What in God’s name was the point or the meaning or the purpose of a life like this?

Frank questioning the purpose of a life in suburbia, rhetorical

they were ready to begin.

Description of the Wheelers and the Campbells settling down for conversation that establishes their whole exchange will be a performance - performative, insincere - majority don’t actually believe in half of what they’re saying about suburbia and deep-down have no longing to escape. simple sentence, suggestive of a performance beginning and anticipatory, excited tone (draw parallels with the Laurel Players, who are mentioned shortly after?). Prior to this, Yates provides an elaborate description of each character settling into their seat one by one, almost like stage directions describing the opening of a play.

quick general lust for expatriation

Description of how the Wheelers’ and Campbells’ conversation often led into a wish to move abroad, but the adjective choices suggest that this longing is only surface-deep and illustrates that their “lust” will never amount to anything - it is only fleeting and perhaps even insincere. Metaphor in describing it as “lust” suggests they have very much a romanticised idea of their “expatriation”, perhaps linking to how most of them do not truly wish to escape suburbia etc.

the cancerous growth of Senator McCarthy had poisoned the United States

Quote about McCarthy. Metaphor, semantic field of illness as if the whole of the USA has been made sick by conformity. Direct criticism of McCarthy would’ve arguably been rather atypical of the time as although McCarthy was dead by the time Yates published RR, this anti-communist, distrustful ideology was still prominent

members of an embattled, dwindling intellectual ground

How the Wheelers and Campbells view themselves. Rather glorified depiction, hyperbolic metaphor

elusive but endlessly absorbing subject of Conformity, or The Suburbs or Madison Avenue.

Yates describing the Wheelers’ and Campbells’ topics of discussion. Polysyndeton creates an animated tone, suggesting that discussion of these subjects evokes a level of excitement that juxtaposes the mundanity of Yates’ description of suburban life up to this point. Madison Avenue = high-end shopping area, hints almost at a criticism of the capitalist, consumerist nature of the USA in the 1950s. Rather atypical, link to idea of McCarthyism and Cold War

extreme suburban smugness

Description of Wheelers’ and Campbells’ attitude when talking about their neighbours. Intensifier conveys their attitude of superiority. Sibilance creates almost a slightly more sinister tone.

the happy implication was that they alone, the four of them, were painfully alive in a drugged and dying culture

Describing how they are above all those around them and are the only ones who feel/live. Juxtaposition between adjective choice of “happy” and adverb choice of “painfully” - implies they almost revel in their superiority and smugness, content with the situation and do not truly wish to change it. Adjective choices, metaphor - almost hyperbolic. Alliteration of “d” creates quite a dramatic tone.

Oh my goodness, I haven’t even told you people about that!… About their son? It’s fantastic.

Milly Campbell when she realises that she hasn’t told the Wheelers about John Givings. Exclamatory, short sentences, rhetorical - conveys animated tone, suggests JG is more like a spectacle.

a girl as totally unlike the wife of a Knox man as the apartment was unlike a Knox man’s home

Frank talking about coming home to April after work in a flashback. P1C5

Why not? Hadn’t she given him every possible encouragement for months?

Frank when considering whether to sleep with Maureen. Repeated use of interrogatives almost alleviates guilt. P1C5

And so it started as kind of a joke… a secret, astringent delight

Flashback to Frank first starting his job. Also could link into the idea of Frank thinking he’s just playing the role of the Knox man, refusing to accept that over time, it no longer becomes an act. A1C5

a portrait of himself as a decent but disillusioned young family man, sadly and bravely at war with his environment

Frank on how he was portraying himself to Maureen. Reference to “portrait” reflects how carefully his image is curated. P1C5

Did the swan apologise to Leda? Did an eagle apologise? Did a lion apologise? Hell, no.

Frank resisting the temptation to apologise to Maureen. Triplet of interrogatives and parallel syntax creates a very assertive, almost aggressive tone. This brazen attitude is later juxtaposed when F goes home and has to take a shower “just because. I’ve got to”. “Swan” and “Leda” - in Greek mythology, Zeus (in the form of a swan) either seduces or rapes (depending on the story) Leda. P1C5

a very small apron of crisp white gauze that he’d never seen before

April’s clothes when Frank returns home. Reflects her utilisation of typical gender roles to get Frank’s attention and appeal to his masculinity. The fact that the apron is new reflects how April is performing in this role as the typical suburban wife, utilising her femininity. P1C5

a quality of play-acting, of slightly false intensity

Frank noticing something different about the way April was talking to him, highlighting the insincerity of her behaviour and demonstrating that her front of being the perfect suburban wife is merely an act. P1C5

hot brown smell of roasting beef brought tears to his eyes

Frank’s reaction to coming home and smelling roast beef. Synaesthesia suggests a strong draw to this sense of domesticity, especially given Yates’ allusion to cooking, one of the typical domestic duties of 1950s housewives. P1C5

the whole slow dry agony of this place would be cut away from his life like a tumour from his brain

Frank describing how he would be able to leave his life at Knox behind. P2C1

It’s been spreading like a disease for years, for generations until now everything you touch is flabby with it

Frank describing the spread of sentimentality. P1C6

I felt full of blood

Frank describing the feeling of going off to warP1C6

bashful as a schoolboy

Description of Frank when April was telling him that she felt so full of life the first time she and Frank slept together. Juxtaposes his harsh tone when he was just criticising the sentimental nature of the country P1C6

the picture of a frightened liar

Frank when April was talking to him about his French ability. Can be used to show how he was faking his willingness to move to Paris P1C6

he was trying to conceal from her, if not from himself, that the plan had instantly frightened him

Frank trying to conceal his reaction to the Paris Plan

wearing a parisian tailored suit, briskly pulling off her gloves - coming home and finding him hunched in an egg stained bathrobe, on an unmade bed picking his nose

Frank worrying about what their relationship will become once they move to Paris and April becomes the breadwinner of the household. The way he seems to fall apart suggests he depends on traditional gender roles to shape his identity and sense of purpose

they fell asleep like children

Frank and April falling asleep after talking about the Paris Plan. Could suggest the plan itself is nothing more than a hopeful, childish fantasy

I was a wise guy with a big mouth

Frank when April was talking about how much potential he had when he was younger. Juxtaposes how he remembered his past before, reflects his fear at the Paris Plan and his inner complicity with the suburban life

unsavoury

Mrs Givings’ view of the Paris Plan

immature

The Campbells’ view of the PP

but she had to keep interrupting herself with mounting impatience to tell him not to laugh

April trying to get Frank to be serious about the Paris Plan, juxtaposition between her serious tone and his playful behaviour reflects their respective attitudes towards the Paris Plan

It’s not sweet, she pronounced the word as if it were the quintessence of everything she despised

April’s rejection of Frank calling the Paris Plan sweet. Hyperbolic description could be seen as almost mocking April for her determination with the Paris Plan, or could reflect her serious resolve to actually move to Paris. Could be used to indicate how the plan means more to April than it does to Frank - as a man, Frank already has access to a world beyond the suburbs (as emphasised by the structural positioning of this chapter, following his day at work and affair with Maureen) whereas for April, the Paris Plan represents her only real hope at escape. Link to ‘The Problem That Has No Name’

Don’t you know? You’re the most valuable and wonderful thing in the world. You’re a man.

April to Frank before they sleep together. Follows her description of how they’re both confined in the suburbs.

I’m practically quoting you

April when Frank tries to rebut the Paris Plan. Highlights the emptiness of his words.

Darling? We are really going to do it aren’t we?

April towards the end of the chapter asking Frank if they’re really going to move to Paris. Repeated interrogative highlights uncertainty, whilst use of “darling” and simplistic language conveys almost a child-like level of vulnerability. Frank repeatedly responds with very short replies (“No.”, “Yes.”) P1C6

Bright visions came to haunt him of a world that could and should have been his

Shep imagining what his life would’ve been like if he hadn’t resigned himself to a life in the suburbs.

they’d set off on their dusty eastward pilgrimage

Description of the Campbells heading east to escape the suburban life and find a greater purpose

Did other men feel distaste at the sight of their own children?

Shep about his loathing towards his childrenq

She woulda made a God damn lollypop outa me!

Shep talking about how he felt emasculated by his mother

faint whiff of something rancid

sweaty milly

antique coffee table whose surface was faintly scarred with glue

Description of the table, metaphor for the impact of JG on the Givings family.

she cried because Howard Givings was the only man who’d ever asked her to marry him… and because her only child was insane

Helen Givings lamenting the failures of her life. Part of a very long, unbroken sentence, suggesting almost an outpouring of emotion. Structurally, referencing the fact that her only child was insane at the end of this long sentence suggests that this is perceived as her ultimate failure in life (link to 1950s expectation of women being valued as mothers)

He imagined her saying, “And it probably is the best sales promotion they’ve ever seen - what’s so funny about that?”

Frank in P2C4 in the office, imagining returning home to April after having done well with his sales promotion. Despite supposedly loathing the confined office life and all it represented, this indicates that deep-down he clearly seeks to be praised on his success in the corporate world. By imagining April as somewhat clueless (as demonstrated by interrogative), adds to this idea of superiority and “suburban smugness”. Link to “sanitised conservatism” critical view

The hell I am!…. But his defiance lacked weight.

Frank during one of his first days back in the office post-PP (P2C4) in response to signs that he was “destined to stay here forever”.

You worry about whether a job is interesting or not? I thought only women did that. Women and boys.

JG during first appearance, talking about jobs. Hypophora creates almost a confrontational, belittling tone - link to emasculating sentiment of quote

A real certified insane person

April’s description of John Givings before their first meeting. Sentence fragment. Suggests he’s almost a spectacle

monstrous parody of a friend-winning, people-influencing smile

One of the first descriptions of JG’s physical appearance (significant as we as the reader hear a lot about JG from other characters before he actually makes a physical appearance in the novel). Could be interpreted as attempting to fit into a society within which he does not truly belong and coming across as more off-putting and “other” in the process. Link to marginalized masculinity

How she talks and talks and never says anything?

John Givings describing Helen Givings’ communication. Could link to Frank’s speech and use to argue this lack of true communication is a societal issue

I agree with everything you said just now

Frank wholeheartedly agreeing with JG during their first meeting. Later juxtaposed by his attack on April for sympathising with what JG was saying

thirty-seven electrical shock treatments

Description of JG’s ‘treatment’. Specific number almost makes it seem even more painful

difference between female and feminine…a feminine woman never laughs out loud and always shaves her armpits

John Givings talking about the difference between female and feminine. Suggests femininity is defined by social norms

I guess that means we’re as crazy as he is

Frank to April after JG’s first visit when they talk about how they agreed with what John was saying. Later juxtaposed by his attack on mental health and weaponisation of April’s mental health struggles

Despite only appearing twice, he always comes in during particular poignant moments. He brings up truths that the Wheelers are then forced to confront and simultaneously makes F’s references to A’s mental health all the more menacing as we see how society treated people who struggled with mental illness

Structural note about the timing of JG’s appearances

everything is selling. nothing happens in this world, nothing comes into this world until somebody makes a sale

Bart Pollock describing how the world revolves around selling. Good quote to show the consumerist nature of 1950s American society

found her pacing the kitchen in the same tense high shouldered way she had paced the stage in the second act of the petrified forest

April pacing the kitchen before she tells Frank about the baby. Links to her only playing the role of the suburban wife

an exultant smile was already struggling for freedom from his chest

Frank’s reaction to the news of April’s third pregnancy

the idea he had to sell, after all, was clearly on the side of the angels

Frank demonstrating confidence that he will win the battle with April over the abortion, showing his belief in the perceived morality of his actions. Verb choice also links to innately consumerist nature of American society (“everything is selling”).

“tactical problem”, “campaign”, “victory”

Semantic field of war and violence used to describe Frank’s campaign against April

“repugnant”, like finding an “ethical justification” for “genocide”, “sort of a denial of womanhood”

Frank’s attitude towards the abortion

where do you people keep your kids?

JG asking what Frank and April do with their kids

But I’ve had two children… Doesn’t that count in my favor?

April during the conversation about the abortion, arguing that she’s already had two children. Links to idea of duty of motherhood