For a time, Banks returned to New Hampshire and followed in his father’s and grandfather’s footsteps: he became a plumber. A few years later, he attended the University of North Carolina and graduated Phi Beta Kappa at age twenty-seven. He taught writing at the University of New Hampshire and had several short stories published in literary reviews, but it was not until age thirty-five that he published his first book, a story collection titled Searching for Survivors.
His pursuit of literature removed from Banks a nasty appetite for barroom brawls. “There are certain things that writing has done for me that if I hadn’t had them, I probably would have killed myself or somebody else,” he told Salon. “Some magazine was asking writers what they would have become if they hadn’t become a writer, and I said what would have happened to me is that I would have been stabbed to death in the parking lot outside a bar in Florida at twenty-four, or something like that. I really believe that, actually. I think writing saved my life. I was so self-destructive, so angry and turbulent, that I don’t think I could have become a useful citizen in any other way. So I don’t think it worked as exorcism, or therapy, but I think it saved my life.”
During his thirties, Banks developed a passionate interest in Jamaica. “I had been to the Caribbean, like most Americans who can swing it, a week here, a week there in the wintertime. I became deeply attracted to the culture, the people, and fell in love with the place.” When awarded a Guggenheim Fellowship to write a book, he took his family to Jamaica and stayed there a year and a half. He spent much of his time “up in the back country” of the island, absorbing the local traditions and idiom. Drawing on his experiences in both Jamaica and Florida, Banks next published Trailerpark, a collection of short stories, and The Book of Jamaica, a novel.
“I think writing saved my life. I was so self-destructive, so angry and turbulent, that I don’t think I could have become a useful citizen in any other way.”
But it was not until the publication of his eighth book, Continental Drift, in 1985, that Banks first achieved critical success. The novel is the story of Bob Dubois, a burned-out oil-burner repairman from New Hampshire struggling to escape mediocrity, and Vanise Dorsinville, a refugee struggling to escape Haiti for the promised land of America, and the tragedy that ensues when they become involved in each other’s destiny. The novel’s title refers to the theory that the earth’s continents were once a united land mass that broke up and continues to drift slowly apart. Banks, however, is referring to demographic, not geologic, drifting, as people all over the world flee their homes in search of new lives. He is also describing the drift that occurs between human hearts, leaving an unbridgeable gap between husbands and wives, families and friends.
“I want to feel I have my arm around a shoulder of this reader and I’m explaining, narrating, telling a wonderful story to this person that I’ve stopped, like the wedding guest in Coleridge’s ‘Rime of the Ancient Mariner.’ ”
In order to capture a narrative voice capable of encompassing the disparate worlds of blue-collar New England and Caribbean voodoo, Banks invokes the Haitian loa, or mouth-man, the spirit of the dead that speaks through the mouth of the living, to help tell the story. “I’m really interested in reinventing the narrator. It’s a convention that went out the window in the twentieth century. I want to feel I have my arm around a shoulder of this reader and I’m explaining, narrating, telling a wonderful story to this person that I’ve stopped, like the wedding guest in Coleridge’s ‘Rime of the Ancient Mariner.’ I’m like the ancient mariner stopping the wedding guest in his rush to tell this wonder to him. And I want to have that sense of intimacy, a face-to-face, arm-around-the-shoulder contact.” Continental Drift, a finalist for the Pulitzer Prize, won the John Dos Passos Award and an American Academy of Arts and Letters Award. James Atlas, writing in Atlantic Monthly, hailed the book as “a great American novel … a lesson in history… It is the most convincing portrait I know of contemporary America.”
Writing also helped Banks come to terms with his past. Though he made peace with his father before the older man’s death in 1979, the theme of troubled father-son relationships continues to play a large role in Banks’s novels. In Affliction, he explores the terrible legacy that an alcoholic and abusive father, Wade Whitehouse, has upon his son. “Writing Affliction, and dealing with Wade Whitehouse, gave me a kind of mercy and certainly forgiveness and understanding of my father that if I had just turned my back on him and walked away and acted bruised and hurt the rest of my life, I never would have obtained.”
In The Sweet Hereafter, Banks again explores the world of troubled blue-collar families. The novel takes as its central event the fatal crash of a school bus and the devastating effect it has on a small town’s emotional life. Banks was initially inspired by a newspaper clipping of a similar crash, as well as the tragic early death of his younger brother. The freight train his seventeen-year-old brother hopped onto was caught in a mudslide in Santa Barbara. “It was an inexplicable event. It was a mystery, finally.” The novel wrestles with issues of blame and causation in cases of accidents.
Rule of the Bone returns to the author’s twin obsession with Jamaica and dysfunctional American families. The novel tells the story of a teenage misfit’s flight from an unhappy home in an upstate New York trailer park and the series of adventures he embarks upon until his final redemption in Jamaica. Banks borrows from Huckleberry Finn in order to create a contemporary American odyssey of race relations and alienation of youth.
“[In Rule of the Bone], Banks borrows from Huckleberry Finn in order to create a contemporary American odyssey of race relations and alienation of youth.”
Buoyed by the success of these novels, as well as the film adaptations of The Sweet Hereafter and Affliction, Banks retired from teaching and gave up his professorship at Princeton. “A funny thing happened when I quit Princeton,” he recalled in The Irish Times. “My attention shifted. I immediately forgot opinions I had on things like deconstruction. And I started noticing things like: ‘Why is the television set on in my neighbor’s house at five in the morning? Is that woman really unhappy? Or has the old man got drunk again and passed out?’ I sat in on a murder trial in the next town. I read the local paper instead of the TLS.”
Banks and his fourth wife, poet Chase Twichell, bought a second home in Keene, New York, not far from the abolitionist John Brown’s old farm. The move inspired his thirteenth novel, Cloudsplitter, a finalist for the Pulitzer Prize and winner of the Anisfield-Wolf Book Award. Seven years in the making, Cloudsplitter is the story of the firebrand John Brown and the events leading to his disastrous raid on Harpers Ferry, as told through the eyes of his son, Owen. Banks began thinking about his legendary neighbor and realized John Brown’s story has all the themes “I’ve been concerned with, some would say obsessed with, for twenty years—the relationships between parents and children, particularly fathers and sons, and the interconnections between politics and religion and race.”
The Darling (selected by the New York Times Book Review as a Notable Book of 2004), is set in late twentieth-century Liberia. The work spans topics of civil and political upheaval, and strained loyalties to country and family.
His latest novel, The Reserve, is a national bestseller. Set in the rugged beauty of the Adirondacks, The Reserve explores the intersections of class, politics, art, love, and madness that occur when two powerful personalities come together on the eve of the Second World War.
The father of four daughters, Banks continues to write in a converted sugar shack just down the road from John Brown’s grave.
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PRAISE
“BANKS IS A WRITER WHO HAS A MIND.”
—CHICAGO SUN-TIMES
“HE WRITES A FINE, CLEAR PROSE—SOME OF THE BEST, IN FACT, NOW BEING WRITTEN BY ANYONE.”
—NEW YORK TIMES BOOK REVIEW
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THE RESERVE
Part love story, part murder mystery, set on the cusp of the Second World War, Russell Banks’s sharp-witted and deeply engaging new novel raises dangerous questions about class, politics, art, love, and madness—and explores what happens when two powerful personalities, trapped at opposite ends of a social divide, begin to break the rules.
Twenty-nine-year-old Vanessa Cole is a wild, stunningly beautiful heiress, the adopted only child of a highly regarded New York brain surgeon and his socialite wife. Twice married already, Vanessa has been scandalously linked to any number of rich and famous men. But on the night of July 4, 1936, at her parents’ country home in a remote Adirondack Mountain enclave known as the Reserve, two events coincide to permanently alter the course of Vanessa’s callow life: her father dies suddenly of a heart attack, and a mysteriously seductive local artist, Jordan Groves, blithely lands his Waco biplane in the pristine waters of the forbidden Upper Lake…
Jordan’s reputation has preceded him; he is internationally known as much for his exploits and conquests as for his paintings themselves, and, here in the midst of the Great Depression, his leftist political loyalties seem suspiciously undercut by his wealth and elite clientele. But for all his worldly swagger, Jordon is as staggered by Vanessa’s beauty and charm as she is by his defiant independence. He falls easy prey to her electrifying personality, but it is not long before he discovers that the heiress carries a dark, deeply scarring family secret. Emotionally unstable from the start, and further unhinged by her father’s unexpected death, Vanessa begins to spin wildly out of control, manipulating and destroying the lives of all who cross her path.
Moving from the secluded beauty of the Adirondack wilderness to the skies above wartorn Spain and fascist Germany, The Reserve is a clever, incisive, and passionately romantic novel of suspense that adds a new dimension to this acclaimed author’s extraordinary repertoire.
“A vividly imagined book. It has the romantic atmosphere of those great thirties tales in film and prose, and it speeds the reader along from its first pages… Banks’s talents are so large—and the novel so fundamentally engaging… The Reserve is a pleasure well worth savoring.”
—Scott Turow, Publishers Weekly
“Of the many writers working in the great tradition today, one of the best is Russell Banks.”
—New York Times Book Review
CONTINENTAL DRIFT
A powerful literary classic, Continental Drift is a major novel about uprootedness, migration, and exploitation in contemporary America. Russell Banks has brought together two of the dominant realms of his fiction—New England and the Caribbean—by skillfully braiding into one taut narrative the story of a young bluecollar worker and family man who abandons his broken dreams in New Hampshire and the story of a young Haitian woman who with her nephew and baby flees the brutal injustice and poverty of her homeland.
Hailed by James Atlas in Atlantic Monthly as “the most convincing portrait I know of contemporary America … a great American novel,” Banks’s 1985 novel is one of the most celebrated works of fiction of the last twentyfive years.
“A vigorous and original novel.”
—New York Review of Books
“An excellent novel… An important novel because of the precise manner in which it reflects the spiritual yearning and materialistic frenzy of our contemporary life. It is also an extremely skillful book, both in its writing, which is impeccable, and in the way it unfolds… Always, Banks writes with tremendous knowledge, convictions, and authenticity.”
—Chicago Tribune
THE DARLING
The Darling is Hannah Musgrave’s story, told emotionally and convincingly years later by Hannah herself. A political radical and member of the Weather Underground, Hannah has fled America to West Africa, where she and her Liberian husband become friends and colleagues of Charles Taylor, the notorious warlord and now ex-president of Liberia. When Taylor leaves for the United States in an effort to escape embezzlement charges, he’s immediately placed in prison. Hannah’s encounter with Taylor in America ultimately triggers a series of events whose momentum catches Hannah’s family in its grip and forces her to make a heartrending choice.
Set in Liberia and the United States from 1975 through 1991, The Darling is a political/historical thriller—reminiscent of Graham Greene and Joseph Conrad—that explodes the genre, raising serious philosophical questions about terrorism, political violence, and the clash of races and cultures.
“In The Darling, [Banks] is working at full strength, and his readers are in his debt.”
—Washington Post Book World
THE ANGEL ON THE ROOF:
THE STORIES OF RUSSELL BANKS
With The Angel on the Roof, Russell Banks offers readers an astonishing collection of thirty years of his short fiction, revised especially for this volume and highlighted by the inclusion of nine new stories that are among the finest he has ever written. As is characteristic of all of Banks’s works, these stories resonate with irony and compassion, honesty and insight, extending into the vast territory of the heart and the world, from working-class New England to Florida and the Caribbean and Africa. Broad in scope and rich in imagination, The Angel on the Roof affirms Russell Banks’s place as one of the masters of American storytelling.
“A beautifully lucid, frequently wrenching collection… What elevates these stories far above their tacitly heartbreaking events are the vast reserves of compassion and wisdom that Mr. Banks brings to framing tragedy.”
—Janet Maslin, New York Times
CLOUDSPLITTER
Cloudsplitter is narrated by the enigmatic Owen Brown, last surviving son of America’s most famous and still controversial political terrorist and martyr, John Brown. Deeply researched, brilliantly plotted, and peopled with a cast of unforgettable characters both historical and wholly invented, Cloudsplitter is dazzling in its re-creation of the political and social landscape of our history during the years before the Civil War, when slavery was tearing the country apart. But within this broader scope, Russell Banks has given us a riveting, suspenseful, heartbreaking narrative filled with intimate scenes of domestic life, of violence and action in battle, of romance and familial life and death that make the reader feel in astonishing ways what it was like to be alive in that time.
“A huge and thunderously good book.”
—Chicago Tribune
RULE OF THE BONE
When we first meet him, Chappie is a punkedout teenager living with his mother and abusive stepfather in an upstate New York trailer park. During this time, he slips into drugs and petty crime. Rejected by his parents, out of school and in trouble with the police, he claims for himself a new identity as a permanent outsider; he gets a cross-bones tattoo on his arm, and takes the name “Bone.”
He finds dangerous refuge with a group of biker-thieves, and then hides in the boarded-up summer house of a professor and his wife. He finally settles in an abandoned school bus with Rose, a child he rescues from a fast-talking pedophile. There Bone meets I-Man, an exiled Rastafarian, and together they begin a second adventure that takes the reader from Middle America to the ganja-growing mountains of Jamaica. It is an amazing journey of selfdiscovery through a world of magic, violence, betrayal, and redemption.
“[O]ne finishes the book with indelible sympathy for tough-guy Bone, touched by his loneliness, fear and desperation, and having absorbed Banks’s message: that (as he said recently) society’s failure to save its children is ‘the main unrecognized tragedy of our time.’ ”
—Publishers Weekly
THE SWEET HEREAFTER
When fourteen children from the small town of Sam Dent are lost in a tragic accident, its citizens are confronted with one of life’s most difficult and disturbing questions: When the worst happens, whom do you blame, and how do you cope? Masterfully written, The Sweet Hereafter is a large-hearted novel that brings to life a cast of unforgettable small-t
own characters and illuminates the mysteries and realities of love as well as grief.
“The characters are rendered with such cleareyed affection, the central tragedy handled with such unsentimental artistry, the wonderfully named mountain hamlet of Sam Dent described in such precise (and often funny) detail, The Sweet Hereafter is not only Banks’s most accomplished book to date, but his most accessible and ultimately affirmative. Russell Banks knows everything worth knowing … and much, much more.”
—Washington Post Book World
AFFLICTION
Wade Whitehouse is an improbable protagonist for a tragedy. A well-digger and policeman in a bleak New Hampshire town, he is a former high-school star gone to beer fat, a loner with a mean streak. It is a mark of Russell Banks’s artistry and understanding that Wade comes to loom in one’s mind as a blue-collar American Everyman afflicted by the dark secret of the macho tradition. Told by his articulate, equally scarred younger brother, Wade’s story becomes as spellbinding and inexorable as a fuse burning its way to the dynamite.
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