"The future is called 'perhaps,' which is the only possible thing to call the future. And the important thing is not to allow that to scare you"
About this Quote
Williams doesn’t romanticize the future as destiny or “promise.” He demotes it to a single, slippery word: perhaps. That choice is doing quiet violence to the American appetite for certainty. “Perhaps” is grammatically modest, emotionally destabilizing, and, in Williams’s hands, honest. It admits that the future can’t be managed by willpower, virtue, or the right speech at the right time. For a dramatist obsessed with people trying to script their lives into safety, that’s not resignation; it’s a dare.
The line works because it stages a pivot from metaphysics to self-protection. Calling the future “perhaps” isn’t merely descriptive; it’s a kind of coping mechanism, a reframe. Williams knows fear is less about what will happen than about the mind’s demand for a final answer. “Perhaps” interrupts that demand. It refuses the false comfort of certainty and also refuses the melodrama of doom. The only “important thing,” he insists, is not to let contingency become terror.
In Williams’s theatrical universe, characters live under the fluorescent glare of longing, shame, and economic fragility. They cling to fantasies because reality is too sharp, too public, too unforgiving. This quote reads like advice from someone who has watched that strategy fail onstage again and again: the future will not consent to your storyline, so stop treating uncertainty as a threat to your dignity. The bravest posture isn’t confidence. It’s tolerance for ambiguity without self-destruction.
The line works because it stages a pivot from metaphysics to self-protection. Calling the future “perhaps” isn’t merely descriptive; it’s a kind of coping mechanism, a reframe. Williams knows fear is less about what will happen than about the mind’s demand for a final answer. “Perhaps” interrupts that demand. It refuses the false comfort of certainty and also refuses the melodrama of doom. The only “important thing,” he insists, is not to let contingency become terror.
In Williams’s theatrical universe, characters live under the fluorescent glare of longing, shame, and economic fragility. They cling to fantasies because reality is too sharp, too public, too unforgiving. This quote reads like advice from someone who has watched that strategy fail onstage again and again: the future will not consent to your storyline, so stop treating uncertainty as a threat to your dignity. The bravest posture isn’t confidence. It’s tolerance for ambiguity without self-destruction.
Quote Details
| Topic | Motivational |
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