"Wait For Tomorrow" is written with the same high degree of skill, the same sharp realism that has characterized all of Wilder's books; and it has the same sort of glamorous background as "Written on the Wind". Yet this is an even more mature and confident Wilder, masterfully laying bare a sophisticated, degenerate society that will be universally fascinating, no matter how appalling. Wilder's world is this dynamic story is New York City, the high-tension capital of disenchantment; and Mexico City, the last refuge of the rich and corrupt who fled from Europe during the war. There they wait for tomorrow and live out their passionate, depraved todays in an atmosphere of bought-and-paid-for splendor. Wilder depicts his fabulous characters with a bright and polished realism. There is an exiled king, his indiscriminately passionate mistress, his unprincipled majordomo, an absolutely ruthless international financier, a Texas oilman with valuable connections. These are people whose techniques for survival make them seem like amoral animals in a highly mechanized jungle. Contrasted to them are a tragic young French girl, helpless in this swift vortex, and Slade Compton, a newspaper reporter, fighting to preserve one last shred of principle. No matter how you may regard these people, their story is told with the strength, the compelling power, that is the trademark of a magnificent writer.
Robert Ingersoll Wilder was a novelist, playwright and screenwriter. Wilder's childhood was spent at Daytona Beach, Florida. Following a stint in the United States Army during World War I, he was educated at Stetson University and Columbia University. At various times in his life, Mr. Wilder was a soda jerk, a ship fitter, a theater usher, a shipping clerk, a newspaper copy boy, a publicity agent, a radio executive, and a journalist.
Mr. Wilder traveled widely and contributed stories to The New Yorker, among other magazines. He was author of two plays, Sweet Chariot, based on the life and career of activist Marcus Garvey, and Stardust, both of which were produced on Broadway. He also wrote the screenplay for the classic western, The Big Country, in 1958.