Dancing after Hours

Dancing after Hours

4.5 4
by Andre Dubus

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A New York Times Notable Book of the Year

From a genuine hero of the American short story comes a luminous collection that reveals the seams of hurt, courage, and tenderness that run through the bedrock of contemporary American life. In these fourteen stories, Dubus depicts ordinary men and women confronting injury and loneliness, the lack of love and


A New York Times Notable Book of the Year

From a genuine hero of the American short story comes a luminous collection that reveals the seams of hurt, courage, and tenderness that run through the bedrock of contemporary American life. In these fourteen stories, Dubus depicts ordinary men and women confronting injury and loneliness, the lack of love and the terror of actually having it. Out of his characters' struggles and small failures--and their unexpected moments of redemption--Dubus creates fiction that bears comparison to the short story's greatest creators--Chekhov, Raymond Carver, Flannery O'Connor.

From the Hardcover edition.

Editorial Reviews

James Marcus

Don't be put off by "The Intruder," the opening entry in Andre Dubus' fine new short-story collection, Dancing After Hours. Once you get past this flat-footed xcursion into Oedipal territory, you're in for a treat, because the remainder of the book shows Dubus in top form, telling stories with marvelous tact and delicacy. Many of them, granted, are on the dour side: when the recently divorced woman in "A Love Song" develops a new passion, for example, she can't help but note "the dark glisten and static quiver of stored tears" in her eyes. Likewise, the male protagonist in another tale is so burned by the collapse of his latest relationship that he vows to hole up in a Mexican village and "look the demon in the eye" — a liquor-fueled form of therapy that will doubtless leave him as miserable as he was in the first place.

Of course, by making joy such a rare commodity Dubus doesn't prevent himself from doing it justice. In "All The Time In The World," a lonely woman named LuAnn Arceneaux falls in love, finally, with the right man, and her happiness transforms everything around her: "She felt her months alone leaving her; she was shedding a condition; it was becoming her past. Outside in the sun, walking to work, she felt she could see the souls of people in their eyes." What love does for LuAnn, the author does for his readers: his stories make the souls of his characters artfully apparent.

Publishers Weekly - Publisher's Weekly
Dubus's (Broken Vessels) first story collection in nearly a decade centers around the concerns that have informed all his writing: spirituality, Catholicism, adultery, love and the difficult attempt to sustain it through marriage and family — and, more broadly, the ways lives can suddenly change, sometimes with sudden cruelty, sometimes with grace. Two stories among the 14 here are particularly fine; both gain resonance from the way Dubus's own life was affected by a tragic accident. They are "The Colonel's Wife,'' about a retired Marine whose relationship with his wife is altered in complex and surprising ways after he breaks both his legs when his horse falls; and the magnificent title story, which concerns a man turned into a quadriplegic by a freak diving mishap, but whose continued zest for life helps bring other people together. Also very strong are the four stories that chronicle the lives of Ted Briggs and LuAnn Arceneaux, and their love for one another, by portraying their lives before they've met and tracing them through a decade of marriage. Dubus's material can be seen as either slightly old-fashioned or as timeless, particularly since he is unapologetically concerned with the spiritual and religious health of his characters. Hopefully, this collection will serve to introduce this important and consistently fine writer to the wider audience he has always deserved.
Joanne Wilkinson
In his first collection of short fiction in seven years, the great Dubus returns with 14 luminous stories. A character in the title story remarks: We are "a glorious race. . . . So much suffering, and we keep getting out of bed in the morning." And that is the essence of Dubus' material — battered by life, jaded by too much booze and too many love affairs, these people keep getting up and facing it down, day by day; sometimes they find joy but more often it's heartbreak. Here's Dubus, in "A Love Song," on infidelity: "What began as the scent of perfume on wool . . . led her beyond his infidelity into the breadth and depth of the river that was their sixteen years of love — its falls and rushing white water and most of all its long and curving and gentle deep flow that never looked or even felt as dangerous as she now knew it truly was." Charged with emotion and rendered in fluid, elegant language, these stories speak to the sacredness of life in all its forms. Loneliness, fear, desire, grief — these are Dubus' themes, and he takes them on and never looks back. His gaze is absolutely fearless, and his observations are unerringly precise; let's hope we don't have to wait another seven years to hear from one of our most spiritual writers.
Philadelphia Inquirer
A master of the short story...It's good to have Andre Dubus back. More than ever, he is an object of hope.
San Francisco Chronicle
Dubus's detailed creation of three-dimensional characters is propelled by his ability to turn a quiet but perfect phrase...[This] kind of writing raises gooseflesh of admiration.
From the Publisher
"Like some of the most satisfying storytellers of the past (Dubus has been compared to Chekhov), he is munificent, spinning out whole lifetimes and recounting events from many characters' viewpoints. For the lyricism and directness of his language, the richness and precision of his observations and the generosity of his vision, he is among the best."
Village Voice

"Dubus's characters resemble those of Raymond Carver...but the stories stand alone in their idiosyncratic spiritual cast, occasionally religious, more often expressive of devotion to the people he lives among."
The New York Times Book Review

"A master of the short story...It's good to have Andre Dubus back. More than ever, he is an object of hope."
The Philadelphia Inquirer

"Dubus's detailed creation of three-dimensional characters is propelled by his ability to turn a quiet but perfect phrase...[This] kind of writing raises gooseflesh of admiration."
San Francisco Chronicle

Product Details

Knopf Doubleday Publishing Group
Publication date:
Vintage Contemporaries
Sold by:
Random House
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2 MB

Read an Excerpt

The Intruder

BECAUSE KENNETH GIRARD LOVED HIS parents and his sister and because he could not tell them why he went to the woods, his first moments there were always uncomfortable ones, as if he had left the house to commit a sin. But he was thirteen and he could not say that he was going to sit on a hill and wait for the silence and trees and sky to close in on him, wait until they all became a part of him and thought and memory ceased and the voices began. He could only say that he was going for a walk and, since there was so much more to say, he felt cowardly and deceitful and more lonely than before.

He could not say that on the hill he became great, that he had saved a beautiful girl from a river (the voice then had been gentle and serious and she had loved him), or that he had ridden into town, his clothes dusty, his black hat pulled low over his sunburned face, and an hour later had ridden away with four fresh notches on the butt of his six-gun, or that with the count three-and-two and the bases loaded, he had driven the ball so far and high that the outfielders did not even move, or that he had waded through surf and sprinted over sand, firing his Tommy gun and shouting to his soldiers behind him.

Now he was capturing a farmhouse. In the late movie the night before, the farmhouse had been very important, though no one ever said why, and sitting there in the summer dusk, he watched the backs of his soldiers as they advanced through the woods below him and crossed the clear, shallow creek and climbed the hill that he faced. Occasionally, he lifted his twenty-two-caliber rifle and fired at a rusty tin can across the creek, the can becoming a Nazi face in a window as he squeezed the trigger and the voices filled him: You got him, Captain. You got him. For half an hour he sat and fired at the can, and anyone who might have seen him could never know that he was doing anything else, that he had been wounded in the shoulder and lost half his men but had captured the farmhouse.

Kenneth looked up through the trees, which were darker green now. While he had been watching his battle, the earth, too, had become darker, shadowed, with patches of late sun on the grass and brown fallen pine needles. He stood up, then looked down at the creek, and across it, at the hill on the other side. His soldiers were gone. He was hungry, and he turned and walked back through the woods.

Then he remembered that his mother and father were going to a party in town that night and he would be alone with Connie. He liked being alone, but, even more, he liked being alone with his sister. She was nearly seventeen; her skin was fair, her cheeks colored, and she had long black hair that came down to her shoulders; on the right side of her face, a wave of it reached the corner of her eye. She was the most beautiful girl he knew. She was also the only person with whom, for his entire life, he had been nearly perfectly at ease. He could be silent with her or he could say whatever occurred to him and he never had to think about it first to assure himself that it was not foolish or, worse, uninteresting.

Leaving the woods, he climbed the last gentle slope and entered the house. He leaned his rifle in a corner of his room, which faced the quiet blacktop road, and went to the bathroom and washed his hands. Standing at the lavatory, he looked into the mirror. He suddenly felt as if he had told a lie. He was looking at his face and, as he did several times each day, telling himself, without words, that it was a handsome face. His skin was fair, as Connie's was, and he had color in his cheeks; but his hair, carefully parted and combed, was more brown than black. He believed that Connie thought he was exactly like her, that he was talkative and well liked. But she never saw him with his classmates. He felt that he was deceiving her.

He left the house and went into the outdoor kitchen and sat on a bench at the long, uncovered table and folded his arms on it.

"Did you kill anything?" Connie said.

"Tin cans."

His father turned from the stove with a skillet of white perch in his hand.

"They're good ones," he said.

"Mine are the best," Kenneth said.

"You didn't catch but two."

"They're the best."

His mother put a plate in front of him, then opened a can of beer and sat beside him. He sat quietly, watching his father at the stove. Then he looked at his mother's hand holding the beer can. There were veins and several freckles on the back of it. Farther up her forearm was a small yellow bruise; the flesh at her elbow was wrinkled. He looked at her face. People said that he and Connie looked like her, so he supposed it was true, but he could not see the resemblance.

"Daddy and I are going to the Gossetts' tonight," she said.

"I know."

"I wrote the phone number down," his father said. "It's under the phone."


His father was not tall either, but his shoulders were broad. Kenneth wondered if his would be like that when he grew older. His father was the only one in the family who tanned in the sun.

"And please, Connie," his mother said, "will you go to sleep at a reasonable hour? It's hard enough to get you up for Mass when you've had a good night's sleep."

"Why don't we go into town for the evening Mass?"

"No. I don't like it hanging over my head all day."

"All right. When will y'all be home?"

"About two. And that doesn't mean read in bed till then. You need your sleep."

"We'll go to bed early," Connie said.

His father served fried perch and hush puppies onto their plates and they had French bread and catsup and Tabasco sauce and iced tea. After dinner, his father read the newspaper and his mother read a Reader's Digest condensation, then they showered and dressed, and at seven-thirty, they left. He and Connie followed them to the door. Connie kissed them; then he did. His mother and father looked happy, and he felt good about that.

"We'll be back about two," his mother said. "Keep the doors locked."

"Definitely," Connie said. "And we'll bar the windows."

"Well, you never know. Y'all be good. G'night."

"Hold down the fort, son," his father said.

"I will."

Then they were gone, the screen door slamming behind them, and Connie left the sunporch, but he stood at the door, listening to the car starting and watching its headlights as it backed down the trail through the yard, then turned into the road and drove away. Still he did not move. He loved the nights at the camp when they were left alone. At home, there was a disturbing climate about their evenings alone, for distant voices of boys in the neighborhood reminded him that he was not alone entirely by choice. Here, there were no sounds.

He latched the screen and went into the living room. Connie was sitting in the rocking chair near the fireplace, smoking a cigarette. She looked at him, then flicked ashes into an ashtray on her lap.

"Now don't you tell on me."

"I didn't know you did that."

"Please don't tell. Daddy would skin me alive."

"I won't."

He could not watch her. He looked around the room for a book.

"Douglas is coming tonight," she said.

"Oh." He picked up the Reader's Digest book and pretended to look at it. "Y'all going to watch TV?" he said.

"Not if you want to."

"It doesn't matter."

"You watch it. You like Saturday nights."

She looked as if she had been smoking for a long time, all during the summer and possibly the school year, too, for months or even a year without his knowing it. He was hurt. He laid down the book.

"Think I'll go outside for a while," he said.

He went onto the sunporch and out the door and walked down the sloping car trail that led to the road. He stopped at the gate, which was open, and leaned on it. Forgetting Connie, he looked over his shoulder at the camp, thinking that he would never tire of it. They had been there for six weeks, since early June, his father coming on Friday evenings and leaving early Monday mornings, driving sixty miles to their home in southern Louisiana. Kenneth fished during the day, swam with Connie in the creeks, read novels about baseball, and watched the major league games on television. He thought winter at the camp was better, though. They came on weekends and hunted squirrels, and there was a fireplace.

He looked down the road. The closest camp was half a mile away, on the opposite side of the road, and he could see its yellow-lighted windows through the trees. That's the house. Quiet now. We'll sneak through the woods and get the guard, then charge the house. Come on. Leaning against the gate, he stared into the trees across the road and saw himself leading his soldiers through the woods. They reached the guard. His back was turned and Kenneth crawled close to him, then stood up and slapped a hand over the guard's mouth and stabbed him in the back. They rushed the house and Kenneth reached the door first and kicked it open. The general looked up from his desk, then tried to get his pistol from his holster. Kenneth shot him with his Tommy gun. Grab those papers, men. Let's get out of here. They got the papers and ran outside and Kenneth stopped to throw a hand grenade through the door. He reached the woods before it exploded.

He turned from the gate and walked toward the house, looking around him at the dark pines. He entered the sunporch and latched the screen; then he smelled chocolate, and he went to the kitchen. Connie was stirring a pot of fudge on the stove. She had changed to a fresh pale blue shirt, the tails of it hanging almost to the bottom of her white shorts.

"It'll be a while," she said.

He nodded, watching her hand and the spoon. He thought of Douglas coming and began to feel nervous.

"What time's Douglas coming?"

"Any minute now. Let me know if you hear his car."

"All right."

He went to his room and picked up his rifle; then he saw the magazine on the chest of drawers and he leaned the rifle in the corner again. Suddenly his mouth was dry. He got the magazine and quickly turned the pages until he found her: she was stepping out of the surf on the French Riviera, laughing, as if the man with her had just said something funny. She was blond and very tan and she wore a bikini. The photograph was in color. For several moments he looked at it; then he got the rifle and cleaning kit and sat in the rocking chair in the living room, with the rifle across his lap. He put a patch on the cleaning rod and dipped it in bore cleaner and pushed it down the barrel, the handle of the rod clanging against the muzzle. He worked slowly, pausing often to listen for Douglas's car, because he wanted to be cleaning the rifle when Douglas came. Because Douglas was a tackle on the high school football team in the town, and Kenneth had never been on a football team, and never would be.

The football players made him more uncomfortable than the others. They walked into the living room and firmly shook his father's hand, then his hand, beginning to talk as soon as they entered, and they sat and waited for Connie, their talking never ceasing, their big chests and shoulders leaned forward, their faces slowly turning as they looked at each picture on the wall, at the designs on the rug, at the furniture, passing over Kenneth as if he were another chair, filling the room with a feeling of strength and self-confidence that defeated him, paralyzing his tongue and even his mind, so that he merely sat in thoughtless anxiety, hoping they would not speak to him, hoping especially that they would not ask: You play football? Two of them had, and he never forgot it. He had answered with a mute, affirming nod.

He had always been shy and, because of it, he had stayed on the periphery of sports for as long as he could remember. When his teachers forced him to play, he spent an anxious hour trying not to become involved, praying in right field that no balls would come his way, lingering on the outside of the huddle so that no one would look up and see his face and decide to throw him a pass on the next play.

But he found that there was one thing he could do and he did it alone, or with his father: he could shoot and he could hunt. He felt that shooting was the only thing that had ever been easy for him. Schoolwork was, too, but he considered that a curse.

He was not disturbed by the boys who were not athletes, unless, for some reason, they were confident anyway. While they sat and waited for Connie, he was cheerful and teasing, and they seemed to like him. The girls were best. He walked into the living room and they stopped their talking and laughing and all of them greeted him and sometimes they said: "Connie, he's so cute," or "I wish you were three years older," and he said: "Me, too," and tried to be witty and usually was.

He heard a car outside.

"Douglas is here," he called.

Connie came through the living room, one hand arranging the wave of hair near her right eye, and went into the sunporch. Slowly, Kenneth wiped the rifle with an oily rag. He heard Douglas's loud voice and laughter and heavy footsteps on the sunporch; then they came into the living room. Kenneth raised his face.

"Hi," he said.

"How's it going?"

"All right."

Douglas Bakewell was not tall. He had blond hair, cut so short on top that you could see his scalp, and a reddish face, and sunburned arms, covered with bleached hair. A polo shirt fit tightly over his chest and shoulders and biceps.

"Whatcha got there?" Douglas said.


"Let's see."

"Better dry it."

He briskly wiped it with a dry cloth and handed it to Douglas. Quickly, Douglas worked the bolt, aimed at the ceiling, and pulled the trigger.

From the Trade Paperback edition.

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Dancing after Hours 4.3 out of 5 based on 0 ratings. 3 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
The story is written in the third person narrated by a 13 years old boy. One summer evening, his parents go to town to attend a banquet, and tell him they will be home by 2 A.M. He and his elder sister stay at home. However, his elder sister's boyfriend visits that night. After he leaves, he and elder sister go to bed. But the boy 13 years old finds someone trying to enter his sister's room, so he shoots the intruder with his rifle.
Guest More than 1 year ago
Wow. I approached this book as a former Marine, reading it because of Dubus' service in My Marine Corps. I expected a hard-edged, razor-sharp world filled with crusty characters. I didn't expect to find characters that were flesh & blood; people who i could reach out and touch. My favorite was The Colonel's Wife: a poignant portrait of a man, and a story I had lived. I recognized both the Colonel and his wife, in many people I was stationed with. I found myself alternately grieving then angry at the direction their vows take; especially considering the irony in the Marine Corps Motto 'Semper Fidelis' (always faithful) and the story line. Worth kicking the kids out of the house for a day to simply enjoy in a full sitting.