Gore Vidal

Gore Vidal

Summary

Portrait of Gore Vidal Gore Vidal,  In a Yellow Wood

“ Not a really individual noise, not like an Italian crowd, hoarse and insistent, but a roar with sharp breaks and a rhythm like an automobile engine, a noise like a discordant piece of music with the rumblings of a subway train as a bass. The conversations of many people made a sound as soothing and as natural as the sea but the mechanical things made sharp overtones, set the rhythm of Times Square and of many lives.
Slowly Carla and Robert Holton allowed themselves to become a part of the current of people, gliding with them toward the north end of the square.
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Source: Gutenberg

Portrait of Gore Vidal Gore Vidal,  In a Yellow Wood

“ I don’t see how you can ever do what you want if you aren’t free.”
“I think,” said Carla, “that you can become free. You can get free in art and you can get free in love. Money hasn’t much to do with it. You can’t go anywhere alone. I don’t think it’s possible to be sane alone, without love.”
“I think you’re right,” said Lewis sincerely and sadly, allowing the now soft music to dissolve his mind into an emotional waste out of which, of course, came art. “I think you have explained all the tragedies in the world.”
“And all the happiness,” murmured Carla, looking at Holton.
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Source: Gutenberg

Portrait of Gore Vidal Gore Vidal,  In a Yellow Wood

“ She stood beside the box office, warmed by the air from the theater. The sight of all the people and lights made her feel secure as though she were not really alone, for she identified herself with every couple that passed by. She had no envy.
Marjorie was about to go into the movie when she saw Robert Holton crossing a street on the other side of the square. She had a sudden impulse to call him, to make herself heard over the hundreds of people. Then she saw that he was not alone. She saw that he was with a dark pretty girl: a woman from the world where he lived.
”
Source: Gutenberg

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