"'All Our Yesterdays' was unquestionably the best work I have ever done. And the reading public stayed away in droves"
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Parker’s punchline lands because it refuses the comforting myth that quality and success naturally converge. “Unquestionably” sounds like an artist’s hard-won certainty, the rare moment when a working writer - a guy known for dependable craft and cadence - admits, without coyness, that he reached the ceiling of his own ability. Then he torpedoes the confession with a deadpan reversal: the public “stayed away in droves.” The phrase is perfect Parker: colloquial, slightly abrasive, and funny in a way that carries a bruise underneath. Droves are for crowds, not absences; he turns nonattendance into its own mass movement, as if readers organized a boycott by apathy.
The subtext is a trade veteran talking about the marketplace with zero romance. Parker built a career in genre fiction where loyalty is real but expectations are narrow: give people the voice, the rhythm, the familiar satisfactions. “All Our Yesterdays” (one of his non-Spenser novels) likely asked for a different kind of attention - structurally, tonally, morally - and the reward for that risk was silence. Not outrage, not debate, just no-show.
There’s intent here beyond self-pity: it’s a warning to writers and a jab at publishing culture. The industry likes the story of the brave departure from formula, but readers often buy the brand they already know. Parker’s irony is a quiet protest against that economy - and a way of protecting his pride. If your best book fails, you can either call it a tragedy or a joke. He chooses the joke because it tells the harsher truth.
The subtext is a trade veteran talking about the marketplace with zero romance. Parker built a career in genre fiction where loyalty is real but expectations are narrow: give people the voice, the rhythm, the familiar satisfactions. “All Our Yesterdays” (one of his non-Spenser novels) likely asked for a different kind of attention - structurally, tonally, morally - and the reward for that risk was silence. Not outrage, not debate, just no-show.
There’s intent here beyond self-pity: it’s a warning to writers and a jab at publishing culture. The industry likes the story of the brave departure from formula, but readers often buy the brand they already know. Parker’s irony is a quiet protest against that economy - and a way of protecting his pride. If your best book fails, you can either call it a tragedy or a joke. He chooses the joke because it tells the harsher truth.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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