I think I meant it more as an indictment of American life in the nineteen-fifties. Because during the Fifties there was a general lust for conformity all over this country, by no means only in the suburbs - a kind of blind, desperate clinging to safety and security at any price, as exemplified politically in the Eisenhower administration and the Joe McCarthy witch-hunts. Anyway, a great many Americans were deeply disturbed by all that - felt it to be an outright betrayal of our best and bravest revolutionary spirit - and that was the spirit I tried to embody in the character of April Wheeler. I meant the title to suggest that the revolutionary road of 1776 had come to something very much like a dead end in the Fifties.

—Richard Yates on the title of Revolutionary Road, Interview from Ploughshares #3, Winter 1972

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I remember listening to Neil Young’s Dead Man Soundtrack on a boombox during a late sumemr evening in the backyard of Finn’s Williams street apartment. The invention of Dylan Carlson’s Earth from ultra-slow downtuned guitar molasses to ultra-slow Morricone inspired twang-doom was quite shocking to some at first, but I find that it all makes sense. Both phases explore space and the expansiveness of time, albeit nowadays they are a bit more subtle.