Russell Banks

Start Free Trial

Literature's Stepchild

Download PDF PDF Page Citation Cite Share Link Share

In the following review, Shorris offers a favorable assessment of The New World. The New World, by Russell Banks, is divided into two sections: “Renunciation,” in which his more conventional stories appear, and “Transformation,” where the writing is more experimental. “The Conversion,” which appears in the first section, tells of Alvin Stock, a 16-year-old New Hampshire boy, in the classic throes of tortured adolescence. Alvin hates himself for his masturbatory fantasies, his unending virginity and his doltishness in the presence of his father. At the same time he feels great tenderness toward his mother and younger sisters. Alvin's most excruciating sufferings are caused by his clumsiness with girls, and during one particularly painful school dance, he sees a vision of Christ which makes him decide to be a minister. We know, however, that this will not be the final resolution for Alvin, for there are no simple resolutions, and the story is too true, too credible, to provide us with any. Banks has perfect pitch for telling of the little near-deaths we have all suffered.
SOURCE: “Literature's Stepchild,” in Nation, Vol. 228, No. 5, February 10, 1979, p. 153.

[In the following review, Shorris offers a favorable assessment of The New World.]

Less successful but more adventurous are the stories in the second part of the book. These deal with actual people in imaginary situations: a weary, aging Simon Bolivar contemplating his life and envying a slave in “The Rise of the Middle Class”; Jean Hogarth, wife of the painter, William Hogarth, lying in bed one morning, unable or unwilling to move, surveying her large, healthy body and resenting its misuse by the greedy, unloving Hogarth, in “Indisposed.”

Banks's most ambitious story is “The New World,” which has as its two main characters, Bernardo de Balbuena, Spanish poet and Catholic prelate, and Mosseh Alvares, a Sephardic goldsmith. Balbuena, longing for a post in Spain, Mexico, or even Lima, Peru, is sent instead to serve in Jamaica, in the 17th century a stagnating backwater. Though miserably disappointed, he gallantly writes to his friend, Lope de Vega, that we choose our own destinies. His real hopes are tied up in his epic poem, “El Bernardo,” in which he creates an idealized version of himself.

Alvares is an important member of the Jewish community in Jamaica, but he, too, is an exile. Though he has a successful business and a beloved daughter, he also feels the need to create a fantasy persona, in his case, a patriarch, the hero of a story he tells his daughter one day. Both men, though alienated from their surroundings, are proud of their accomplishments under duress. But they resent that duress. They are angry at not being better situated, so they invent better situations.

Was the New World created to make the old one more endurable, just as people create fantasy lives in order to make their daily existence bearable? It's a bit farfetched, and the audacious Banks doesn't make the connection work completely. Obviously influenced by both Garcia Marquez and Borges, he seems to lack their off-center imaginations and the precision to get the story told before losing the engagement of the reader. But a writer willing to gamble this way deserves unlimited credit at the gaming tables.

Get Ahead with eNotes

Start your 48-hour free trial to access everything you need to rise to the top of the class. Enjoy expert answers and study guides ad-free and take your learning to the next level.

Get 48 Hours Free Access
Next

The New World

Loading...