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Jul 21, 2015
| ISBN 9780307279132
Aug 12, 2014
| ISBN 9780385351614
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Jul 21, 2015 | ISBN 9780307279132
Aug 12, 2014 | ISBN 9780385351614
Although they are separated in age by almost two decades, when Natasha, a young artist, meets Michael Faulk, a priest struggling with his faith, the stars seem to align. But shortly before their wedding day, as the terrorist attacks of 9/11 shake the country, cracks in their relationship begin to emerge. Cut off from one another for several terrifying hours, Natasha suffers an unimaginable private trauma, and her inability to speak of it inexorably divides their relationship into “before” and “after.” Gorgeously rendered and emotionally powerful, in Before, During, After one of our most distinguished storytellers charts the path of a relationship threatened by secrets.
From the recipient of the PEN/Malamud Award, the Literature Award from the American Academy of Arts and Letters, and the Rea Award for the Short Story: a gorgeously rendered, passionate account of a relationship threatened by secrets, set against the backdrop of national tragedy. When Natasha, a talented young artist working as a congressional aide, meets Michael Faulk, an Episcopalian priest struggling with his faith, the stars seem to align. Although he is nearly two decades older, they discover in each other the happy yearning and exhilaration of lovers, and within months they are engaged. Shortly before their wedding, while Natasha is vacationing in Jamaica and Faulk is in New York attending the wedding of a family friend, the terrorist attacks of September 11 shatter the tranquillity of the nation’s summer. Alone in a state of abject terror, cut off from America and convinced that Faulk is dead, Natasha makes an error in judgment that leads to a private trauma of her own on the Caribbean shore. A few days later, she and Faulk are reunited, but the horror of that day and Natasha’s inability to speak of it inexorably divide their relationship into “before” and “after.” They move to Memphis and begin their new life together, but their marriage quickly descends into repression, anxiety, and suspicion. In prose that is direct, exact, and lyrical, Richard Bausch plumbs the complexities of public and personal trauma, and the courage with which we learn to face them. Above all, Before, During, After is a love story, offering a penetrating and exquisite portrait of intimacy, of spiritual and physical longing, and of the secrets we convince ourselves to keep even as they threaten to destroy us. An unforgettable tour de force from one of America’s most distinguished storytellers.
Richard Bausch is the author of twelve novels and eight previous volumes of short stories. He is a recipient of the REA Award For The Short Story, the PEN/Malamud Award, a Guggenheim Fellowship, the Lila Wallace–Reader’s Digest Award, the Literature… More about Richard Bausch
“A brilliant blend of tragedy and romance.” —San Francisco Chronicle“Elegantly constructed. . . . One of Richard Bausch’s many talents is the forthright ease with which he delivers his characters—and readers—to the gravest questions of love, faith and ultimately God, even as he nimbly hides the answers in plain sight.” —The New York Times Book Review“Intimate. . . . Bausch explores the way private tragedy is distorted and subsumed by national disaster.” —The Washington Post “An intensely personal drama. . . . As he empathetically investigates his characters, Bausch uncovers thoughts and feelings as tangled and troubled as the world around them.” —The Boston Globe“[A] terrific novel. . . . Bausch has found a way to connect the optimism that died [on 9/11] with the hopes and dreams that we take into our intimate relationships. They can collapse, too. And often we don’t even see it coming. . . . [He is] a master storyteller who appreciates subtleties most of us can’t see, much less write.” —The Seattle Times “Masterful prose, in the service of a masterfully told story. . . . [Before, During, After] would have been over-reach for a lesser writer, but Bausch pulls it off by displaying the utmost care for his characters, employing the highest form of authorial omnipotence to show how external horrors reverberate in internal spaces.” —The Daily Beast “A quietly lovely book, well-written and sad, but with the possibility of triumph.” —The Post and Courier (Charleston) “Gripping.” —Toronto Star “Skillfully crafted. . . . Taut and restrained. . . . Bausch is a powerful evocator. . . . [He] courageously tackles a difficult conundrum in fiction: how to fictionalize—that is how to make art—out of unspeakable evil taken from life.” —New York Journal of Books “Sublimely probing what it means to lose trust in one’s self and in those one loves, the masterful Bausch delicately ponders the consequences of devastating loss on both a grand and personal scale. A luscious, sweeping heartbreak of a novel.” —Booklist (starred review) “Bausch offers a twentieth work of fiction that blends private and public trauma to devastating effect.” —Library Journal
Q: The title of the book—BEFORE, DURING, AFTER—refers to the stages of a love affair that unfolds in the months leading up to September 11, 2001, and is rocked as the nation is rocked by tragedy. Why did you choose to set the personal, intimate story of romance—with ups and downs, surprises both good and bad—against a national tragedy? A: I have always said that in most of the world’s good fiction the history is backdrop. The Napoleonic war for Tolstoy, for instance, with War And Peace; and, say, World War One for Hemingway, with A Farewell To Arms. Both of those books can be called romances. But this story occurred to me first from the personal history of a neighbor I knew thirty-four years ago in Virginia, whose marriage did not survive a trauma very much like that of Natasha in my book. I wanted to write about that catastrophe, and ended up wanting to make a successful love story, even with the troubles that arise; a portrait of a passionate love threatened by internal failings stemming from the larger circumstances. But that is what all fiction is ultimately doing. I thought about each generation’s catastrophic event, where everyone remembers where they were at the moment it happened—Roosevelt’s death and Pearl Harbor for my parents; Kennedy’s and King’s deaths for me; The Challenger for so many, and now 9-11. But of course beyond the shared catastrophic event, each of us has anyway, our own personal catastrophes to live with or make some kind of truce with, and that is the province of fiction. In some ways, it’s fiction’s main purpose—to make personal what we tend to see as abstract. But beyond all this, and more important than any of it, is that I wanted to tell a good story. Q: How do your stories come to you? Do you develop characters first, or do you begin with the plot? A: The two are too closely allied to distinguish between them, really. Sometimes it’s a line, sometimes it’s a speculation, a what if, and sometimes it’s a combination of both. Sometimes it starts with a character, but the character is always dealing with some kind of trouble, which of course is plot. Q: September 11 not only changed our nation, but in the aftermath we’ve seen an outpouring of literature around that moment. What has your book has added to the conversation in literature about that day? (Or—is there something you hope readers will be compelled to discuss about that day and it’s long-lasting effects after reading your book?) A: I wouldn’t presume to guess at that. I believe there was a certain nihilism that accompanied the outpouring of extreme religion that followed upon it. We all have our ways of dealing with these irremediable things; we all serve some idea of hope, and redemption, but it seemed to me that everything was darker for a time, though people went on as themselves. Q: At the center of this novel is a secret—it is so pervasive that it almost becomes a character itself. What drew you to tell a story that is moved forward, in many ways, by the unspoken, by silence? A: The long ago instance did not involve secrets, so I can’t really say why it becomes so important in this novel, except to say that by the time I had been working on it for a couple of years, the psychology of what Natasha has been though, and my inhabiting of her as a character, dictated the rest of it. And we know that in most instances, people who suffer her trauma never report it. Q: You’re a celebrated short story writer as well as a beloved novelist. How is the process different with crafting short stories, as opposed to novels? Do you prefer one to the other, or do they ebb and flow as your work creatively in the different forms? Do your short stories ever spiral into novels? A: It is all expression to me, long or short. Several of my novels began as what I thought would be short stories; once I had a short story, “All The Way In Flagstaff, Arizona,” that started as a novel. I thank God every day that that has only happened to me once, and it was very early in my writing life, so I think I can chalk it up to inexperience. There are always five or ten unfinished projects lying around, and some of them have been for years. Eventually, I’d like to write all of them. I hope I’ll get to them, and there are always new ones coming up. Q: The story is initially set in the political arena of Washington, DC, then moves to a calmer environment in Memphis, TN—with moments in NYC and Jamaica as the tragedy of September 11 unfolds. Do you have connections to these places? A: I lived in Memphis for seven years. NYC is my favorite city in all the world. Never been to Jamaica, but would like to visit. I just needed them to be far apart and out of reach when it all came down, as of course many people were. Q: This is your 20th book, and we hope there’s no stopping now! What are you working on next? A: I’m almost finished with a new book of stories called Living in the Weather of The World. I’m aiming to have it ready, with pages of a new novel I’m not talking about, by mid-August.
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