Talking to an author like Russell Banks is truly a pleasure, because he’s not only a major literary writer who makes a fine living — he uses his rank and privilege to the benefit of others, through his work for the Cities of Refuge program. To paraphrase Tom Wolfe, Banks is “an artist in full,” and comfortable enough in his own skin to accept new technology instead of reviling it:
“It’s happened dozens of times over history. I’m sure there were people in ancient Egypt wringing their hands, saying, ‘You know, we really like those old wet clay and stylus. I don’t care they’re so heavy to carry around. What’s this new thing made out of papyrus reeds? Who can use it anyhow? Just the kids know how to use it!’ You know, this kind of complaint is perennial and goes with the species. So, I’m not too worried about it and I’m quite cheered by the rise of formats like this for a chance to talk about the book and get to an audience.”
Banks also, of course, talks about his new book, The Reserve:
“…it’s a rural noir rather than an urban one…It’s dark but it’s set in the wilderness—the Adirondack wilderness—of upstate New York…It’s set in 1936 and 1937 and the shadows of the rise of fascism lie right behind the story…. And, it’s a plot filled with coincidence and event in much the way those old noir films and novels are constructed. So, it has many of the same elements. In a way, for me, too, it’s—in the same sense that the noir novels and films were—it’s kind of a moral fable as well. I think at the heart of it, there are secrets and betrayals and lies as well, driving the plot.”
It’s a very different book than The Sweet Hereafter or The Darling — it’s more of a ripping good read than either of those — but The Reserve also contains themes and preoccupations about class, responsibility, and gender that are vintage Banks. I hope you enjoy listening to him!
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