La escritura de Russell Banks profundiza en las vidas de gente común que lucha contra la adversidad y las complejidades de la experiencia estadounidense. Sus narrativas a menudo exploran temas profundos de culpa, redención y la búsqueda de identidad. Banks capta magistralmente las crudas realidades y las intrincadas psicologías de sus personajes, creando obras profundamente conmovedoras y a menudo inquietantes.
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' 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.
The cover of Russell Banks's mountain-sized novel Cloudsplitter features an actual photo of Owen Brown, the son of John Brown -- the hero of "The Battle Hymn of the Republic" whose terrorist band murdered proponents of slavery in Kansas and attacked Harpers Ferry, Virginia, in 1859 on what he considered direct orders from God, helping spark the Civil War. A deeply researched but fictionalized Owen narrates this remarkably realistic and ambitious novel by the already distinguished author of The Sweet Hereafter . Owen is an atheist, but he is as haunted and dominated by his father, John Brown, as John was haunted by an angry God who demanded human sacrifice to stop the abomination of slavery. Cloudsplitter takes you along on John Brown's journey -- as period-perfect as that of the Civil War deserter in Cold Mountain -- from Brown's cabin facing the great Adirondack mountain (called "the Cloudsplitter" by the Indians) amid an abolitionist settlement the blacks there call "Timbuctoo," to the various perilous stops of the Underground Railroad spiriting slaves out of the South, and finally to the killings in Bloody Kansas and the Harpers Ferry revolt. We meet some great names -- Frederick Douglass, Ralph Waldo Emerson, and a (fictional) lover of Nathaniel Hawthorne -- but the vast book keeps a tight focus on the aged Owen's obsessive recollections of his pa's crusade and the emotional shackles John clamped on his own family. Banks, a white author, has tackled the topic of race as impressively as Toni Morrison in novels such as Continental Drift . What makes Cloudsplitter a departure for him is its style and scope. He is noted as an exceptionally thorough chronicler of America today in rigorously detailed realist fiction (he championed Snow Falling on Cedars ). Banks spent half a decade researching Cloudsplitter , and he renounces the conventional magic of his poetical prose style for a voice steeped in the King James Bible and the stately cadences of 19th-century political rhetoric. The tone is closer to Ken Burns's tragic, elegiac The Civil War than to the recent crazy-quilt modernist novel about John Brown, Raising Holy Hell . A fan of Banks's more cut-to-the-chase, Hollywood-hot modern style may get impatient, but such readers can turn to, say, Gore Vidal's recently reissued Lincoln , which peeks into the Great Emancipator's head with a modern's cynical wit. Banks's narrator is poetical and witty at times -- Owen notes, "The outrage felt by whites [over slavery] was mostly spent on stoking their own righteousness and warming themselves before its fire." Yet in the main, Banks writes in the "elaborately plainspoken" manner of the Browns, restricting himself to a sober style dictated by the historical subject. Besides, John Brown's head resembles the stone tablets of Moses. You do not penetrate him, and you can't declare him mad or sane, good or evil. You read, struggling to locate the words emanating from some strange place between history, heaven, and hell.
This collection features new stories that explore the intricate dynamics of modern American families, showcasing Russell Banks' keen insight and storytelling prowess. Known for his acclaimed works, Banks delves into the emotional landscapes and challenges faced by families today, offering a poignant and thought-provoking examination of relationships and identity. Each narrative reveals the complexities of familial bonds, making this a compelling read for those interested in contemporary life and human connections.
Originally published by Harper in 1985 to great acclaim, "Continental Drift" is an American masterpiece about innocence and evil by one of the most important novelists writing today.
When we first meet him, Chappie is a punked-out 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 crossed-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 schoolbus 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 self-discovery through a world of magic, violence, betrayal and redemption.
Hannah Musgrave is on the run: from her adoring parents, her many lovers, even from herself. As a young woman she worked for a Boston terrorist group which has put her on the FBI's most wanted list, forcing her to flee to Liberia in West Africa. There she marries an ambitious young politician and settles down. But Hannah can never quite bridge the differences between herself and her African husband. Liberia is a country on the verge of explosion and the threat of civil war is ever present. The violent events that follow touch everyone close to Hannah and, once again, she has to flee. This time, though, the past won't disappear.
"In 1971, a property speculator named Harley Mann begins recording his life story onto a reel-to-reel machine. Reflecting on his childhood in the early 20th century, Harley recounts that after his father's sudden death, his family migrated down to Florida-mere miles away from what would become Disney World-to join a community of Shakers. Led by Elder John, a generous man with a mysterious past, the colony devoted itself to labor, faith, and charity, rejecting all temptations that lay beyond the property. Though this initially saved Harley and his family from complete ruin, when Harley began falling in love with Sadie Pratt, a consumptive patient who lived on the grounds, his loyalty to the Shakers and their conservative worldview grew strained and, ultimately, broke. As Harley dictates his story across more than half-a-century, the truth about Sadie, Elder John, and the Shakers comes to light, clarifying the past into a world we recognize today"-- Provided by publisher
On probation after doing time for a liaison with an under-age girl, the Kid is forbidden to live within 2500 feet of anywhere children might gather. Enter the Professor. The two men forge a tentative partnership, but then the Professor's past resurfaces and threatens to destroy his carefully constructed world.
Utilizing a unique seventeenth-century form, this fictional work reflects the experiences of imprisoned Puritan divines, aiming to illustrate the trials of faith faced by believers. The narrative, framed by scripture and sermons, captures the sincere yet artificial recounting of suffering meant for an audience outside prison walls. Russell Banks employs this form not to mock but to engage thoughtfully with its underlying mindset, seeking to understand and appreciate its complexities.
