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A selection of short stories from a twentieth-century “American master” (Dan Cryer, Newsday).
A contemporary of Ann Beattie and Tobias Wolff, Frederick Busch was a master craftsman of the form; his subjects were single-event moments in so-called ordinary life. The stories in this volume, selected by Pulitzer Prize winner Elizabeth Strout, are tales of families trying to heal their wounds, save their marriages, and rescue their children. In "Ralph the Duck," a security guard struggles to hang on to his marriage. In "Name the Name," a traveling teacher attends to students outside the school, including his own son, locked in a country jail. In Busch's work, we are reminded that we have no idea what goes on behind closed doors or in the mind of another. In the words of Raymond Carver, "With astonishing felicity of detail, Busch presents us with a world where real things are at stake—and sometimes, as in the real world, everything is risked."
From his first volume, Hardwater Country (1974), to his most recent, Rescue Missions (2006), this volume selects thirty stories from an "American master" (Dan Cryer, Newsday), showcasing a body of work that is sure to shape American fiction for generations to come.
- Sales Rank: #723560 in eBooks
- Published on: 2013-12-02
- Released on: 2013-11-25
- Format: Kindle eBook
From Booklist
Busch wrote 27 books during his short lifetime, 7 of them short story collections. It was a format he loved and used to great effect to expose, honor, and explain the unforgettable people and unforgiving landscape of upstate New York that was his home and inspiration. He was a master of the killer first line, delivering a hook so intriguing, so shocking, so seductive that readers couldn’t help but follow it all the way in. What they encountered next were crystalline tales of domesticity, steeped in betrayal and populated by the disillusioned and wounded. Fathers, sons, lawyers, judges, teachers, coaches, the divorced or soon-to-be—Busch’s characters navigate a tentative terrain. A supple and nuanced writer, Busch placed them within fully realized worlds, where failure abounds but the search for redemption prevails. Pulitzer Prize winner Strout (The Burgess Boys, 2013), who served as editor of this posthumous volume, knows a good story when she sees it, and she has flawlessly selected Busch’s best for a collection that honors the humanity and vision of a master storyteller. --Carol Haggas
Review
“Frederick Busch’s short stories are wonderful things, composed by a fine and far-seeing intelligence that never averts its eyes. His is a first-rate inquirer into the sorrows of ordinary people living ordinary lives and all of it in stripped-down prose―not minimalist but nuclear. Any reader coming to these stories for the first time is in for a revelation: the work of one of the great storytellers of our time.” (Ward Just)
“These luminous, risky stories by Frederick Busch make art out of the complications of everyday life. They come from a brilliant mind and a large heart, and their many pleasures and insights resonate long after the reading.” (Hilma Wolitzer)
“Frederick Busch faced every emotion with an open heart and tirelessly energetic language. Never unkind to his characters, he forgave inadequacy if it was genuine, an honest struggle. And of all the writers I can think of, Fred was the most impatient with inauthentic feeling. That richness of spirit, that passion and wit, made his stories indispensable. This book is a great a gift to keep his voice with us and to bring it to those who’ve never had the pleasure of hearing it.” (Rosellen Brown)
“[His stories] depict a range of small human dramas evoked with emotional intelligence and perfect pitch.” (Amanda Heller - Boston Globe)
“A master craftsman.” (New York Times Book Review)
“Showcases his mastery of the short story form…cement[s] Busch’s status as an exemplary craftsman.” (Publishers Weekly)
“You can count on Busch's prose to be startlingly revelatory, and the brilliance of his sentences endures even out of context… this collection will make more people see Frederick Busch for the master he was, one whose talent for subtle impact was downright maximal.” (Katie Arnold-Ratliff - New York Times Book Review)
“Deserves to place this ‘writer’s writer’ in the more widely read company of short-story masters like Raymond Carver and Richard Ford, with whom he is often compared.” (Emily Rapp - Boston Globe)
About the Author
Frederick Busch (1941–2006) was the recipient of many honors, including an American Academy of Arts and Letters Fiction Award, a National Jewish Book Award, and the PEN/Malamud Award. The prolific author of sixteen novels and six collections of short stories, Busch lived most of his life in upstate New York, where he worked for forty years as a professor at Colgate University.
Most helpful customer reviews
14 of 14 people found the following review helpful.
A treasure trove of short stories from a master of the genre; VERY highly recommended
By Timothy J. Bazzett
THE STORIES OF FREDERICK BUSCH is a veritable treasure trove of the art of the short story. No surprise, of course, since Busch has been much admired by other writers for decades now, not to mention readers like me who appreciate serious fiction done right. A Busch fan for over twenty years, I have read almost all of his novels by now, but had read only two of his story collections, so of the thirty stories gathered here only seven (from Too Late American Boyhood Blues and Rescue Missions: Stories) were familiar to me. I had planned to quickly skim those, but they were just so damn good that I ended up reading them all over again.
Short stories are always a hard sell in the book world, which is a shame, because they are such a demanding art form, and one which Fred Busch had long ago mastered. But Busch himself would have been the first to tell you that it took WORK, years of it, to finally get it right. I am reminded here of an autobiographical essay he wrote called "The Floating Christmas Tree" (in A Dangerous Profession: A Book About the Writing Life) about his early struggling days, newly married and living in a tiny New York apartment, where he would write late at night in the bathroom (so he wouldn't awaken his wife), perched hunched over on the edge of the tub, his typewriter on the toilet lid -
"I was twenty-two - and I was going to be a writer, I WAS a writer, I was going to get THEM to admit that I was a writer, and I sat in that awkward position and wrote my awkward prose."
I remember how I laughed when reading that, but by God Fred Busch kept at it. Witness these stories, every one of them perfect gems of the genre. And that same self-effacing sense of humor is displayed often, as well as the much darker themes which often fill Busch's fiction. In fact, Busch himself often shows up here, or thinly-disguised versions of him. From the clueless pudgy professor in "Widow Waters" to the desperate out-of-shape dog lover in "The Page," the well-meaning but buffoon-ish dispatcher in "The Baby in the Box," or the practical blustery father in "The Domicile," all the way to another concerned father of a returned veteran suffering from PTSD in "Patrols." Because Busch followed that oft-quoted precept of writers. He wrote about what he knew. And he knew about being a son, a brother, a husband, a father. And he was also a keen observer of human nature, and mined every aspect of what he knew and saw, often featuring small boys, abandoned husbands or disillusioned wives as his main characters.
Elizabeth Strout (another writer I very much admire) provides a most useful introduction here to Busch as a writer, a teacher and a man. But the stories themselves are the real stars. I called this book a treasure trove, and I will treasure it. My very highest recommendation.
- Tim Bazzett, author of the memoir, BOOKLOVER
4 of 4 people found the following review helpful.
The Master of the Short Story
By LWD01915
I was SO thrilled to find out that a collection (a large one!) of Frederick Busch's short stories had been published. I was not only a student of his at Colgate University but he was also my advisor. The first class I took with him was in the fall of my freshman year (1975, gulp). While I had a very solid base in literature for an incoming freshman, somehow the short story genre had been overlooked which would be considered unfortunate except that I had Professor Busch introduce me to them. He was passionate about Hemingway's short stories but like Ernest, Professor Busch wrote (or at least published) mostly novels and most in the years after I had graduated and although I have read most of the novels, I had only read a couple of his short stories. He died too young but I am so glad that his wonderful stories (I've only read a few so far-I'm savoring them) are finally available to all.
3 of 3 people found the following review helpful.
Humanity in all its Beauty and Pain
By Bookreporter
W. W. Norton & Company deserves the thanks of anyone who loves an intelligent, well-constructed short story, for publishing this career-spanning collection of more than 30 of them from the grossly underappreciated Frederick Busch. Busch, who died in 2006 at age 64, taught creative writing at Colgate for nearly four decades and produced seven collections of short stories. Pulitzer Prize-winning novelist Elizabeth Strout (OLIVE KITTREDGE; THE BURGESS BOYS) has selected nearly 500 pages worth of his best ones for this volume. In her generous introduction, after noting how the label “writer’s writer” frequently is attached to those, like Busch, whose careers combine literary craftsmanship and modest sales, she rightly observes that “any reader, whether they are a writer, or a lover of humanity, a consumer of literature for the sake of it alone, has a great deal to find here.”
Busch was a contemporary of writers like Raymond Carver, Richard Ford, Tobias Wolff and Andre Dubus II, once associated with the literary movement inelegantly named “dirty realism.” Like them, he shares a preoccupation with the predicaments of ordinary people, more focused on closely observed character studies and life’s barely noticeable turning points than dramatic plot twists. Though their circumstances are as varied as real life --- something that makes easy summary a challenge --- if there’s a dominant tone, here it’s one of regret. Whether it’s come about as a result of divorce, death or abandonment, many of Busch’s characters seem to understand that happiness is forever destined to lie just beyond their grasp.
One of the most affecting stories in that vein is “Ralph the Duck.” Its protagonist is a college security guard and Vietnam veteran, one of whose fringe benefits is his ability to take one course a semester, assuring “graduation in only sixteen years.” It’s only in the course of his rescue of a suicidal student that we learn the source of his private grief. “Dog Song” features a minor judicial officer who finds himself in the hospital, desperately trying to recall the circumstances of the automobile accident that’s landed him there.
“Reruns,” the story of a psychiatrist whose estranged wife has been taken hostage in Beirut, is an exceptionally powerful one. In it, he watches a grainy tape sent by her captors, “my wife on reruns, available as starkly as this, and to strangers.” Another story that reveals Busch’s skill at creating dramatic tension is “Bob’s Your Uncle,” where a troubled teenager, the son of the narrator’s former lover, travels from England to America for an unsettling visit with the man and his wife, who stands, in the story’s climactic paragraph, “between men gone wrong, or boys who hadn’t turned out right.”
Though many of the stories are set in the small towns of upstate New York, where Busch lived most of his life, they’re leavened by a few tales that take place in and around New York City, where he was born. In “Vespers,” a woman returns with her Midwestern lover to her Flatbush neighborhood, where she and her brother “had grown up, sometimes even together.” The narrator of “The Lesson of the Hotel Lotti” has “composed some recollections, for the sake of sentiment,” of her mother’s affair with a successful Manhattan maritime lawyer.
Busch is a confident prose craftsman; he doesn’t dazzle with experimental structures or other striking effects, but instead is content to hammer out one sturdy sentence after another. Where his mastery is most evident is in the opening lines of so many of these stories, thrusting us into that moment, identified by the great Irish short story writer Frank O’Connor “after which nothing else is ever the same.” A few examples, each one a model of concision, suffice to reveal his talent:
“It began for me in a woman’s bed, and my father was there though she wasn’t.”
“Rudy made me promises, and they came true.”
“Duane and I don’t talk about how she killed herself or where.”
“Did I tell you she was raped?
“I loved his mother once.”
Couple these striking beginnings with a facility for realistic dialogue, an ability to sketch a scene in efficient strokes, and a keen understanding of human psychology, and you instantly appreciate why Busch was held in such high regard by his fellow writers.
At any given moment in the literary world, it seems someone either is lamenting the death of the short story or trumpeting an imminent revival. Reading Frederick Busch renders those predictions irrelevant. In “The Floating Christmas Tree,” an essay in Busch’s 1999 collection A DANGEROUS PROFESSION, he claimed he wrote “for love, because of a compulsive need, out of a requirement that I cannot shake: that I justify my time on the earth by telling stories. That’s what I have to do. I have to do it.” These stories, with their deep empathy for humanity in all its beauty and pain, show how that time was more than justified.
Reviewed by Harvey Freedenberg
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