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The Sweet Hereafter (Signed First Edition)

Russell Banks

7,207 ratings by Goodreads
ISBN 10: 0060167033 / ISBN 13: 9780060167035
Published by Harper Collins, 1991
New Condition: New Hardcover
From Dan Pope Books (West Hartford, CT, U.S.A.)

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About this Item

NEW YORK: Harper Collins [1991]. First edition. First printing. Hardbound. New/New. A pristine unread copy. Comes with archival-quality mylar dust jacket cover. Shipped in well padded box. Smoke-free, defect-free. This book was purchased new and shelved, untouched since then. SIGNED BY AUTHOR on title page. You cannot find a better copy. 0.0. Bookseller Inventory # 07-2013-709

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Bibliographic Details

Title: The Sweet Hereafter (Signed First Edition)

Publisher: Harper Collins

Publication Date: 1991

Binding: Hardcover

Book Condition:New

Dust Jacket Condition: New

Signed: Signed by Author(s)

Edition: 1st Edition....

About this title

Synopsis:

In The Sweet Hereafter, Russell Banks tells a story that begins with a school bus accident. Using four different narrators, Banks creates a small-town morality play that addresses one of life's most agonizing questions: when the worst thing happens, who do you blame?

Review:

Atom Egoyan's Oscar-nominated The Sweet Hereafter is a good movie, remarkably faithful to the spirit of Russell Banks's novel of the same name, but Banks's book is twice as good. With the cool logic of accreting snowflakes, his prose builds a world--a small U.S. town near Canada--and peoples it with four vivid, sensitive souls linked by a school-bus tragedy: the bus driver; the widowed Vietnam vet who was driving behind the bus, waving at his kids, when it went off the road; the perpetually peeved negligence lawyer who tries to shape the victims' heartaches into a winning case; and the beauty-queen cheerleader crippled by the crash, whose testimony will determine everyone's fate.

We experience the story from inside the heads of the four characters in turn--each knowing things the others don't, each misunderstanding the facts in his or her own way. The method resembles Faulkner's The Sound and the Fury and Gilbert Sorrentino's stunning Aberration of Starlight, but Banks's achievement is most comparable to John Updike's tales of ordinary small-towners preternaturally gifted with slangy eloquence, psychological insights, and alertness to life's tiniest details.

Egoyan's film is haunting but vague--it leaves viewers in the dark regarding several critical plot points. Banks's book is more haunting still, and precise, making every revelation count, with a finale far superior to that of the film. It's also wittier than the too-sober flick: the lawyer dismisses the dome-dwelling hippie parents of one of the crash victims as being "lost in their Zen Little Indians fantasy," which casts a sharp light on them and him, too. He's lost in his calculations of how each parent will fit into the legal system, and the ways in which he fits into the tragedy are lost on him. If only he and the Vietnam-vet dad could read each other's account of their tense first encounter, both of them might get what the other is missing.

Banks's wit is pitiless--it's painful when we discover that the bus driver, who prides herself on interpreting for her stroke-impaired husband, is translating his wise but garbled observations all wrong. The crash turns out not to be the ultimate tragedy: in the cold northern light of its aftermath, we discover that we're all in this alone.

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