Meditations from a Movable Chair

( 4 )

Overview

The twenty-five luminous and intensely personal essays in this collection are, like Andre Dubus's celebrated short stories, a testament to the author's vulnerability, vision, and indestructible faith. Since losing one leg and the use of the other in a 1986 accident, Dubus has experienced despair, learned acceptance, and, finally, found joy in the sacramental magic of even the most quotidian tasks.
Whether he is writing of the relationship with his father, the rape of his beloved...

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Overview

The twenty-five luminous and intensely personal essays in this collection are, like Andre Dubus's celebrated short stories, a testament to the author's vulnerability, vision, and indestructible faith. Since losing one leg and the use of the other in a 1986 accident, Dubus has experienced despair, learned acceptance, and, finally, found joy in the sacramental magic of even the most quotidian tasks.
Whether he is writing of the relationship with his father, the rape of his beloved sister, his Catholic faith, the suicide of a gay naval officer, his admiration for fellow writers like Hemingway and Mailer, or the simple act of making sandwiches for his daughters' lunchboxes, Dubus cuts straight to the heart of things. Here we have a master at the height of his powers, an artist whose work "is suffused with grace, bathed in a kind of spiritual glow" (The New York Times Book Review).

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Editorial Reviews

From the Publisher
"A rich account of the daily torments and triumphs of a human soul . . . [by] one of our most gifted writers."  —The Atlanta Journal-Constitution

"Sublime . . . . To read these essays is to know what a blessing life can be, and how hard, on legs or on wheels."  —St. Petersburg Times

"Dubus's prose is lathed to perfection. . . .  [His] essays are every bit as dramatic, captivating, and full of mystery as his fiction."  —The Boston Globe

J. T. Barbarese
Dubus is an artist...whose art is at least as tough as the faith that drives him...His honesty and sense of irony are unsparing. -- Philadelphia Inquirer
Adrienne Miller
As strong and honest as an oak. -- Esquire Magazine
Donna Seaman
Truly a revelation...whether he is writing about being a boy, a Marine, a husband, father, writer, runner, Red Sox fan, man without the use of his legs, or a Christian...Each essay is a magic bullet...Dubus' writings embody maleness in the very best sense of the word...Generous and profound spirituality is the lifeblood of his work. -- The Boston Globe
Andrew O'Hehir

It's entirely misguided to call Andre Dubus a minimalist, although his chosen form in this book is the short essay, no more than a few pages long, almost always about the ordinary events of his life. Indeed, Dubus, both as an essayist and an author of short stories, is about as maximal as you can get. His subjects are pretty much everything that those of us who came of age after the Kennedys, after Watergate, are too embarrassed to talk about: God, love, art and writing, fatherhood and manhood, the sacredness of the human body and human life. He's a writer's writer, unafraid to take the kinds of chances that can steal your breath away or, if you're feeling uncharitable, seem slightly ridiculous (as when, in "Sacraments," he lists trimming liverwurst for his daughters' sandwiches among the sacraments of his day).

Much of Meditations From a Movable Chair, including its title, is haunted by the accident in 1986 when Dubus, then 49, was struck by a car, costing him one leg and severely damaging the other. He is too honest and brave a writer to pretend that the accident did not change him in fundamental ways (just as his marriages and divorces and the births of his six children have also changed him) or that he did not suffer from self-pity and despair as well as excruciating physical pain while recovering from it. He consistently describes himself as "crippled," and despises the journalistic clichés that are invariably hauled out to discuss the disabled: "To view human suffering as an abstraction, as a statement about how plucky we all are," he writes in "Song of Pity," "is to blow air through brass while the boys and girls march in parade off to war. Seeing the flesh as only a challenge to the spirit is as false as seeing the spirit as only a challenge to the flesh."

There were moments, while I read this book, when I felt alienated from Dubus' full-hearted, masculine sensibility, when it struck me as a little pompous and writerly. I even wondered whether I would actually like him if I met him (even though he loves baseball, opera, Frank Sinatra and Bergman films, all undeniably high on the list of things that make life worth living). His passionate belief in the Catholic church and its rituals -- although it's obviously genuine and he writes about it beautifully in such essays as "Love in the Morning" and "Communion" -- is just as puzzling to an arm's-length lapsed Catholic like me as a belief in UFO abductions or a flat earth.

But I always felt honored to be in Dubus' company, and chastened by his wisdom, his powers of observation and his masterly command of craft. Within the space of 21 pages, he pulls off a dark-comic essay about the New York publishing world ("Mailer at the Algonquin") and a heartbreaking essay about baseball ("Brothers," which originally appeared in Salon), both among the finest I've ever read on those worked-over subjects. For any writer, this will be one of those books you read and reread, photocopy for your friends, come to terms with over the years and carry with you from house to house until you die. -- Salon

Susan Salter Reynolds
Beautiful as a view is beautiful, or a child, or a righteous struggle with a victorious ending. -- LA Times
Publishers Weekly - Publisher's Weekly
The 1986 highway accident that resulted in Dubus being largely confined to a wheelchair is an event that is by now familiar to readers of his award-winning short stories (Dancing After Hours, etc.) and previous collection of personal essays (Broken Vessels, 1991). In these 25 spare and luminous essays, most of which have previously appeared in magazines like the New Yorker, Harper's and Yankee, the author lingers over experiences past and present, from the everyday trials of life in a wheelchair to his thoughts on being a writer, a divorced Catholic and father. "Song of Pity" combines simmering rage at public indifference to the handicapped ("newspaper[s] would not review a restaurant that was accessible only to caucasians, or only to men") with recollections of an earlier time when he was the one pushing a wheelchair: "I spoke to the back of his head, and he spoke to the cold air in front of him." Other essays recall his encounters as a young writer with Kurt Vonnegut and Ralph Ellison in Iowa City, and Norman Mailer, whom he meets at the Algonquin during a whirlwind trip to New York to meet with his editor in 1967. In Dubus's sharply distilled prose, these meditations are as starkly tangible as they are resonant, providing a vision of his own life before and after the accident, a life united finally by a passion for love, life and craft.
Library Journal
"I mourn this, and I sing in gratitude for loving this," Dubus (Dancing After Hours, LJ 2/15/96) writes of running year-round on country roads and up "Agony Hill" in one of the excellent and poignant essays (many previously published) contained in this slim volume. Touching on subjects from his sister's search for forgiveness after being raped, to the ethics of writing and publishing, to his complicated reaction to meeting a woman who saw the accident that confined him to a wheelchair, the collection murmurs deep sorrow, subtle joy, and fragile acceptance. Dubus's simple prose gently nurses profound meaning from the most daily of events, bringing him time and again to moments in his life when he failed to live up to Mailer's ideal that, as Dubus puts it, "it is better to be a good man than a good writer." In fact, these essays show that Dubus is both. Highly recommended for all libraries.--Rebecca Miller, "Library Journal"
The Boston Globe
Dramatic, captivating, and full of mystery...Dubus' prose is lathed to perfection.
NY Times Book Review
Here we have a master at the height of his powers, an artist whose work "is suffused with grace, bathed in a kind of spiritual glow."
Atlanta Journal-Constitution
A rich account of the daily torments and triumphs of a human soul...[by] one of our most gifted writers.
Kirkus Reviews
This affecting second collection of personal essays from contemporary master of the short story Dubus (Dancing After Hours, 1996, etc.) displays the distinctive direct and elegant style and often reflects the masculine Catholic world view that inform much of his fiction. Dubus says he was an active runner and walker before he lost his left leg at the knee and the use of his right one in an accident on a highway just north of Boston in the late 1980s. That experience, his ensuing physical struggle, and the dissolution of his marriage were written about in his first volume of essays, Broken Vessels, in 1991. Here he achieves an intensely personalized effect because of his technique of filtering his experience through the perspective of his faith. It's also a perspective of suffering, for Dubus continues to live every day in physical pain, as he explains in the at once bleak and redemptive closing piece, "Witness," about his recent encounter with a woman who saw his accident. Dubus is commanding and graceful as ever on the physicality and spirituality of love between men and women; and he writes with humility and honesty of his decision to live life in a wheelchair after an agonizing period of physical therapy; and of the occasional moment of radiance, such as his being carried onto the lawn by his older children to play ball with his younger ones. Wisely or not, he includes a letter of complaint to Amtrak that turns into a tough if dulcet rant. At least one recent critic, while acknowledging his gifts, has identified in Dubus the tendency, before and after his injury, to locate the emotional center of his writing in an overly indulgent, if bittersweet, nostalgia for theirrecoverable past. Still Dubus is an American original, and his talent continues to surprise.
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Product Details

  • ISBN-13: 9780679751151
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 4/28/1999
  • Series: Vintage Contemporaries Series
  • Pages: 209
  • Sales rank: 602,882
  • Product dimensions: 5.20 (w) x 7.95 (h) x 0.50 (d)

Meet the Author

Andre Dubus is the author of nine works of fiction. He has received the PEN/Malamud Award, the Rea Award for excellence in short fiction, the Jean Stein Award from the American Academy of Arts and Letters, the Boston Globe's first annual Lawrence L. Winship Award, and fellowships from both the Guggenheim and MacArthur Foundations. He lives in Haverhill, Massachusetts.

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Read an Excerpt

Chapter Four

Digging

That hot June in Lafayette, Louisiana, I was sixteen, I would be seventeen in August, I weighed one hundred and five pounds, and my ruddy, broad-chested father wanted me to have a summer job. I only wanted the dollar allowance he gave me each week, and the dollar and a quarter I earned caddying for him on weekends and Wednesday afternoons. With a quarter I could go to a movie, or buy a bottle of beer, or a pack of cigarettes to smoke secretly. I did not have a girlfriend, so I did not have to buy drinks or food or movie tickets for anyone else. I did not want to work. I wanted to drive around with my friends, or walk with them downtown, to stand in front of the department store, comb our ducktails, talk, look at girls.

My father was a civil engineer, and the district manager for the Gulf States Utilities Company. He had been working for them since he left college, beginning as a surveyor, wearing boots and khakis and, in a holster on his belt, a twenty-two-caliber pistol for cottonmouths. At home he was quiet; in the evenings he sat in his easy chair, and smoked, and read: Time, The Saturday Evening Post, Collier's, Reader's Digest, detective novels, books about golf, and Book of the Month Club novels. He loved to talk, and he did this at parties I listened to from my bedroom, and with his friends on the golf course, and drinking in the clubhouse after playing eighteen holes. I listened to more of my father's conversations about politics and golf and his life and the world than I ever engaged in during the nearly twenty-two years I lived with him. I was afraid of angering him, seeing his blue eyes, and reddening face, hearing the words he would use to rebuke me; but what I feared most was his voice, suddenly and harshly rising. He never yelled for long, only a few sentences, but they emptied me, as if his voice had pulled my soul from my body. His voice seemed to empty the house too and, when he stopped yelling, the house filled with silence. He did not yell often. That sound was not part of our family life. The fear of it was part of my love for him.

I was shy with him. Since my forties, I have believed that he was shy with me too, and I hope it was not as painful for him as it was for me. I think my shyness had very little to do with my fear. Other boys had fathers who yelled longer and more often, fathers who spanked them or, when they were in their teens, slapped or punched them. My father spanked me only three times, probably because he did not know of most of my transgressions. My friends with harsher fathers were neither afraid nor shy; they quarreled with their fathers, provoked them. My father sired a sensitive boy, easily hurt or frightened, and he worried about me; I knew he did when I was a boy, and he told me this on his deathbed, when I was a Marine captain.

My imagination gave me a dual life: I lived in my body, and at the same time lived a life no one could see. All my life, I have told myself stories, and have talked in my mind to friends. Imagine my father sitting at supper with my mother and two older sisters and me: I am ten and small and appear distracted. Every year at school, there is a bully, sometimes a new one, sometimes the one from the year before. I draw bullies to me, not because I am small, but because they know I will neither fight nor inform on them. I will take their pushes or pinches or punches, and try not to cry, and I will pretend I am not hurt. My father does not know this. He only sees me at supper, and I am not there. I am riding a horse and shooting bad men. My father eats, glances at me. I know he is trying to see who I am, who I will be.

Before my teens, he took me to professional wrestling matches because I wanted to go; he told me they were fake, and I did not believe him. We listened to championship boxing matches on the radio. When I was not old enough to fire a shotgun, he took me dove hunting with his friends: we crouched in a ditch facing a field, and I watched the doves fly toward us and my father rising to shoot; then I ran to fetch the warm, dead, and delicious birds. In summer, he took me fishing with his friends; we walked in woods to creeks and bayous and fished with bamboo poles. When I was ten, he learned to play golf and stopped hunting and fishing, and on weekends I was his caddy. I did not want to be, I wanted to play with my friends, but when I became a man and left home, I was grateful that I had spent those afternoons watching him, listening to him. A minor-league baseball team made our town its home, and my father took me to games, usually with my mother. When I was twelve or so, he taught me to play golf, and sometimes I played nine holes with him; more often and more comfortably, I played with other boys.

If my father and I were not watching or listening to something and responding to it, or were not doing something, but were simply alone together, I could not talk, and he did not, and I felt that I should, and I was ashamed. That June of my seventeenth year, I could not tell him that I did not want a job. He talked to a friend of his, a building contractor, who hired me as a carpenter's helper; my pay was seventy-five cents an hour.

On a Monday morning, my father drove me to work. I would ride the bus home and, next day, would start riding the bus to work. Probably my father drove me that morning because it was my first day; when I was twelve, he had taken me to a store to buy my first pair of long pants; we boys wore shorts and, in fall and winter, knickers and long socks till we were twelve; and he had taken me to a barber for my first haircut. In the car, I sat frightened, sadly resigned, and feeling absolutely incompetent. I had the lunch my mother had put in a brown paper bag, along with a mason jar with sugar and squeezed lemons in it, so I could make lemonade with water from the cooler. We drove to a street with houses and small stores and parked at a corner where, on a flat piece of land, men were busy. They were building a liquor store, and I assumed I would spend my summer handing things to a carpenter. I hoped he would be patient and kind.

As a boy in Louisiana's benevolent winters and hot summers, I had played outdoors with friends: we built a clubhouse, chased one another on bicycles, shot air rifles at birds, tin cans, bottles, trees; in fall and winter, wearing shoulder pads and helmets, we played football on someone's very large side lawn; and in summer we played baseball in a field that a father mowed for us; he also built us a backstop of wood and chicken wire. None of us played well enough to be on a varsity team; but I wanted that gift, not knowing that it was a gift, and I felt ashamed that I did not have it. Now we drove cars, smoked, drank in nightclubs. This was French Catholic country; we could always buy drinks. Sometimes we went on dates with girls, but more often we looked at them and talked about them; or visited them, when several girls were gathered at the home of a girl whose parents were out for the evening. I had never done physical work except caddying, pushing a lawn mower, and raking leaves, and I was walking from the car with my father toward workingmen. My father wore his straw hat and seersucker suit. He introduced me to the foreman and said: "Make a man of him."

Then he left. The foreman wore a straw hat and looked old; everyone looked old; the foreman was probably thirty-five. I stood mutely, waiting for him to assign me to some good-hearted Cajun carpenter. He assigned me a pickax and a shovel and told me to get into the trench and go to work. In all four sides of the trench were files of black men, swinging picks and shoveling. The trench was about three feet deep and it would be the building's foundation; I went to where the foreman pointed, and laid my tools on the ground; two black men made a space for me, and I jumped between them. They smiled and we greeted one another. I would learn days later that they earned a dollar an hour. They were men with families and I knew this was unjust, as everything else was for black people. But on that first morning, I did not know what they were being paid, I did not know their names, only that one was working behind me and one in front, and they were good to me and stronger than I could ever be. All I really knew in those first hours under the hot sun was raising the pickax and swinging it down, raising it and swinging, again and again till the earth was loose; then putting the pick on the ground beside me and taking the shovel and plunging it into dirt that I lifted and tossed beside the trench.

I did not have the strength for this: not in my back, my legs, my arms, my shoulders. Certainly not in my soul. I only wanted it to end. The air was very humid, and sweat dripped on my face and arms, soaked my shirt and jeans. My hands gripping the pick or shovel were sore, my palms burned, the muscles in my arms ached, and my breath was quick. Sometimes I saw tiny black spots before my eyes. Weakly, I raised the pick, straightening my back, then swung it down, bending my body with it, and it felt heavier than I was, more durable, this thing of wood and steel that was melting me. I laid it on the ground and picked up the shovel and pushed it into the dirt, lifted it, grunted, and emptied it beside the trench. The sun, always my friend till now, burned me, and my mouth and throat were dry, and often I climbed out of the trench and went to the large tin watercooler with a block of ice in it and water from a hose. At the cooler were paper cups and salt tablets, and I swallowed salt and drank and drank, and poured water onto my head and face; then I went back to the trench, the shovel, the pick.

Nausea came in the third or fourth hour. I kept swinging the pick, pushing and lifting the shovel. I became my sick, hot, tired, and hurting flesh. Or it became me; so, for an hour or more, I tasted a very small piece of despair. At noon in Lafayette, a loud whistle blew, and in the cathedral the bell rang. I could not hear the bell where we worked, but I heard the whistle, and lowered the shovel and looked around. I was dizzy and sick. All the men had stopped working and were walking toward shade. One of the men with me said it was time to eat, and I climbed out of the trench and walked with the black men to the shade of the toolshed. The white men went to another shaded place; I do not remember what work they had been doing that morning, but it was not with picks and shovels in the trench. Everyone looked hot but comfortable. The black men sat talking and began to eat and drink. My bag of lunch and jar with lemons and sugar were on the ground in the shade. Still I stood, gripped by nausea. I looked at the black men and at my lunch bag. Then my stomach tightened and everything in it rose, and I went around the corner of the shed where no one could see me and, bending over, I vomited and moaned and heaved until it ended. I went to the watercooler and rinsed my mouth and spat, and then I took another paper cup and drank. I walked back to the shade and lay on my back, tasting vomit. One of the black men said: "You got to eat."

"I threw up," I said, and closed my eyes and slept for the rest of the hour that everyone--students and workers--had for the noon meal. At home, my nineteen-year-old sister and my mother and father were eating dinner, meat and rice and gravy, vegetables and salad and iced tea with a leaf of mint; and an oscillating fan cooled them. My twenty-two-year-old sister was married. At one o'clock, the whistle blew, and I woke up and stood and one of the black men said: "Are you all right?"

I nodded. If I had spoken, I might have wept. When I was a boy, I could not tell a man what I felt, if I believed what I felt was unmanly. We went back to the trench, down into it, and I picked up the shovel I had left there at noon, and shoveled out all the loose earth between me and the man in front of me, then put the shovel beside the trench, lifted the pick, raised it over my shoulder, and swung it down into the dirt. I was dizzy and weak and hot; I worked for forty minutes or so; then, above me, I heard my father's voice, speaking my name. I looked up at him; he was there to take me home, to forgive my failure, and in my great relief I could not know that I would not be able to forgive it. I was going home. But he said: "Let's go buy you a hat."

Every man there wore a hat, most of them straw, the others baseball caps. I said nothing. I climbed out of the trench and went with my father. In the car, in a voice softened with pride, he said: "The foreman called me. He said the Nigras told him you threw up, and didn't eat, and you didn't tell him."

"That's right," I said, and shamefully watched the road, and cars with people who seemed free of all torment, and let my father believe I was brave, because I was afraid to tell him that I was afraid to tell the foreman. Quietly, we drove to town and he parked and took me first to a drugstore with air conditioning and a lunch counter, and bought me a 7UP for my stomach, and told me to order a sandwich. Sweet-smelling women at the counter were smoking. The men in the trench had smoked while they worked, but my body's only desire had been to stop shoveling and swinging the pick, to be, with no transition at all, in the shower at home, then to lie on my bed, feeling the soft breath of the fan on my damp skin. I would not have smoked at work anyway, with men. Now I wanted a cigarette. My father smoked, and I ate a bacon and lettuce and tomato sandwich.

Then we walked outside, into humidity and the heat and glare of the sun. We crossed the street to the department store, where, in the work-clothes section, my father chose a pith helmet. I did not want to wear a pith helmet. I would happily wear one in Africa, hunting lions and rhinoceroses. But I did not want to wear such a thing in Lafayette. I said nothing; there was no hat I wanted to wear. I carried the helmet in its bag out of the store and, in the car, laid it beside me. At that place where sweating men worked, I put it on; a thin leather strap looped around the back of my head. I went to my two comrades in the trench. One of them said: "That's a good hat."

I jumped in.

The man behind me said: "You going to be all right now."

I was; and I still do not know why. A sandwich and a soft drink had not given me any more strength than the breakfast I had vomited. An hour's respite in the car and the cool drugstore and buying the helmet that now was keeping my wet head cool certainly helped. But I had the same soft arms and legs, the same back and shoulders I had demanded so little of in my nearly seventeen years of stewardship. Yet all I remember of that afternoon is the absence of nausea.

At five o'clock, the whistle blew downtown and we climbed out of the trench and washed our tools with the hose, then put them in the shed. Dirt was on my arms and hands, my face and neck and clothes. I could have wrung sweat from my shirt and jeans. I got my lunch from the shade, my two comrades said: "See you tomorrow," and I said I would see them. I went to the bus stop at the corner and sat on the bench. My wet clothes cooled my skin. I looked down at my dirty tennis shoes; my socks and feet were wet. I watched people in passing cars. In one were teenaged boys, and they laughed and shouted something about my helmet. I watched the car till it was blocks away, then took off the helmet and held it on my lap. I carried it aboard the bus; yet all summer I wore it at work, maybe because my father bought it for me and I did not want to hurt him, maybe because it was a wonderful helmet for hard work outdoors in Louisiana.

My father got home before I did and told my mother and sister the story, the only one he knew, or the only one I assumed he knew. The women proudly greeted me when I walked into the house. They were also worried. They wanted to know how I felt. They wore dresses, they smelled of perfume or cologne, they were drinking bourbon and water, and my sister and father were smoking cigarettes. Standing in the living room, holding my lunch and helmet, I said I was fine. I could not tell the truth to these women who loved me, even if my father were not there. I could not say that I was not strong enough and that I could not bear going back to work tomorrow, and all summer, any more than I could tell them I did not believe I was as good at being a boy as other boys were: not at sports, or with girls; and now not with a man's work. I was home, where vases held flowers, and things were clean, and our manners were good.

Next morning, carrying my helmet and lunch, I rode the bus to work and joined the two black men in the trench. I felt that we were friends. Soon I felt this about all the black men at work. We were digging the foundation; we were the men and the boy with picks and shovels in the trench. One day, the foundation was done. I use the passive voice, because this was a square or rectangular trench, men were working at each of its sides, I had been working with my comrades on the same side for weeks, moving not forward but down. Then it was done. Someone told us. Maybe the contractor was there, with the foreman. Who dug out that last bit of dirt? I only knew that I had worked as hard as I could, I was part of the trench, it was part of me, and it was finished; it was there in the earth to receive concrete and probably never to be seen again. Someone should have blown a bugle; we should have climbed exultant from the trench, gathered to wipe sweat from our brows, drink water, shake hands, then walk together to each of the four sides and marvel at what we had made.

On that second morning of work, I was not sick, and at noon I ate lunch with the blacks in the shade; then we all slept on the grass till one o'clock. We worked till five, said good-bye to one another, and they went to the colored section of town, and I rode the bus home. When I walked into the living room, into cocktail hour, and my family asked me about my day, I said it was fine. I might have learned something if I had told them the truth: the work was too hard, but after the first morning I could bear it. And all summer it would be hard; after we finished the foundation, I would be transferred to another crew. We would build a mess hall at a Boy Scout camp and, with a black man, I would dig a septic tank in clay so hard that the foreman kept hosing water into it as we dug; black men and I would push wheelbarrows of mixed cement; on my shoulder I would carry eighty-pound bags of dry cement, twenty-five pounds less than my own weight; and at the summer's end, my body would be twenty pounds heavier. If I had told these three people who loved me that I did not understand my weak body's stamina, they might have taught me why something terrible had so quickly changed to something arduous.

It is time to thank my father for wanting me to work and telling me I had to work and getting the job for me and buying me lunch and a pith helmet instead of taking me home to my mother and sister. He may have wanted to take me home. But he knew he must not, and he came tenderly to me. My mother would have been at home that afternoon; if he had taken me to her, she would have given me iced tea and, after my shower, a hot dinner. When my sister came home from work, she would have understood, and told me not to despise myself because I could not work with a pickax and a shovel. And I would have spent the summer at home, nestled in the love of the two women, peering at my father's face, and yearning to be someone I respected, a varsity second baseman, a halfback, someone cheerleaders and drum majorettes and pretty scholars loved; yearning to be a man among men, and that is where my father sent me with a helmet on my head.

Copyright © 1998 by Andre Dubus. All rights reserved.

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Table of Contents

About Kathryn 3
Legs 10
Letter to a Writers' Workshop 12
Digging 19
Imperiled Men 33
A Hemingway Story 45
Grace 59
Mailer at the Algonquin 61
Brothers 72
Good-bye to Richard Yates 83
Sacraments 85
Bodily Mysteries 100
A Country Road Song 103
Carrying 109
Girls 116
Liv Ullmann in Spring 119
Love in the Morning 131
Song of Pity 146
Communion 156
First Books 160
Letter to Amtrak 164
Autumn Legs 170
Giving Up the Gun 174
Messages 194
Witness 197
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Interviews & Essays

On Friday, June 12th, barnesandnoble.com welcomed Andre Dubus to discuss MEDITATIONS FROM A MOVABLE CHAIR.


Moderator: Andre Dubus is here to celebrate the publication of his new book of essays, MEDITATIONS FROM A MOVABLE CHAIR. In addition to this work of nonfiction, Dubus has recently published a critically acclaimed collection of short stories, DANCING AFTER HOURS. He has been compared to Chekhov and Hemingway for his powerful use of language and imagery. Thank you, Andre Dubus, for joining us this evening to discuss your new book. How are you this evening?

Andre Dubus: Fine.


Cynthia Burns from Washington, D.C.: MEDITATIONS is your second book of essays. I read BROKEN VESSELS, your last collection, and loved it. What made you return to the essay form? How would you distinguish this new collection from the last?

Andre Dubus: I didn't return. I was always writing them since the late '70s. I was working on them and DANCING AFTER HOURS at more or less the same time. I would say this one is more new. Oh, and a lot of BROKEN VESSELS was written before my accident. There are no wheelchairs in that one.


Tonya from Seattle, WA: You infuse a great sense of God and the spiritual realm in most of your stories and also in many of the essays in your new book. Do you intend or hope your readers will contemplate their own spirituality when they read your work? Is it difficult for you to separate this realm from your work? I applaud you and MEDITATIONS. Beautiful work. Thanks!

Andre Dubus: No, I write what comes, and I don't write an essay to persuade anyone about anything. Well, maybe I did in "Song of Pity," and it is not difficult to keep spirituality out of my work because it just comes in. I could keep it out, but it wouldn't be honest.


Hannah from Boston, MA: As you wrote these essays over the years, did you envision that they would be put together for a book later? Do you see a common chord or sentiment that links them?

Andre Dubus: I don't think there is anything in common, but I was hoping that there would be enough for a book. I also had a contract with Knopf, so it is a good thing I did.


Peter from Great Falls: Due to your car accident, DANCING AFTER HOURS was your first book in many years. When you finally sat down to write these stories, did you feel like you had almost started over as an author? Did you think and feel about the world in an entirely new fashion? Thank you for finally bringing us a new book, too.

Andre Dubus: Well, thank you. Yes. Absolutely. For a long time, probably some sad years, I couldn't write fiction. I have a daughter in Santa Cruz named Nicole, and she gave me some very good advice on the phone. She said, "You have been through so much, I don't think you can imagine an imaginary world yet. Keep writing nonfiction about people in wheelchairs, and someday someone will show up in a story in a wheelchair, and then show up in bipeds." I was working on a story called "The Colonel's Wife." Because of what Nicole told me I broke the colonel's leg, using the accident that crippled Cole Porter, and the story moved, and after that they all started moving for me. Thank God!


Berry from Williamsburg: What is your favorite essay from MEDITATIONS? Why? It is hard to pick, but I think my favorite is "Digging." I found myself laughing out loud at your hilarious bittersweet descriptions of your summer construction job. Do you have a favorite short story?

Andre Dubus: I wish I had an answer, but it is difficult. I am partial to "Digging" because it is about my father. The stories I am most found of are the ones that try to kill me -- the hardest ones. So "Adultery" remains one of my favorites -- not the act -- because it took seven drafts totaling 400 typed pages to get to the final draft of 60 pages. I read a profile of Updike and he said he dreads going up to his study. I do too. I procrastinate. I like to make phone calls and smoke cigarettes in the morning. It is hard but delightful.


Stephanie from Worcester, MA: Do you ever see a certain grace in your accident and its results on your work? Is there anything positive you can draw from such a horrific tragedy? I hope this is not too personal, but does this event still get you down on a daily basis? Thanks for the beautiful stories and essays. They have really touched my life.

Andre Dubus: Yes, I see a lot of grace from the accident. Reynolds Price said the same things about his difficulties. I think I am a better human being. More grateful for very small things that I used to assume, like breathing. I do things that in my previous life would have made me anxious, like going out on the deck. Before my accident I used to say I was most relaxed at the beach. I was a harried guy. But now I can get that at home. I figure it is because I'm grateful for not being desolate. Yes, each morning after dreaming I have legs, I wake up with a little jolt. Every day I have to work to keep my spirits up. That has become a vocation more important to me than writing. I have to keep those spirits up. Most effective is prayer and rituals and baseball. Thank you for the question.


Taylor Yates from Pittsburg, PA: Mr. Dubus, I know you as a story writer, not as a nonfiction writer, but I am looking forward to reading this new collection. Did writing essays bring you the same joy as writing stories? What would you say distinguishes the two methods in your mind? Is one easier for you?

Andre Dubus: It does not bring me the same joy because it is not as exciting. When I am writing fiction, I do not know what will happen at the end, or even the next page or two, so it is more of an adventure. I do not know what physical action will happen a few hundred words down the road. Most of the essays are about things that happened, so I know all the physical action before I start. What I do find in a essay is the metaphysical, and neither one is easier than the other. It's that grind again!


Monica from New York City: Are you ever frightened the stories will stop coming to you? After your accident, did you think all was lost in terms of your ability to write?

Andre Dubus: I have spent my adult life as a writer frightened that stories would stop coming. I had lost all. I had a notebook with a lot of ideas. I was able to write one of them after my accident; the rest are gone forever. I became a different person, so I had to start over with new ideas.


Dale from Williamsburg: Your essays tell us that you got married very young, became a father to many children in a relatively short time, and that you were in the Marines. Did you think that these experiences caused you to grow up faster? Do you look back with any regret that you had so much responsibility so fast?

Andre Dubus: That is a good question. Friends of mine in their 30s have expressed astonishment that my first wife and I had four children before we were 25. I have never regretted it. It was a lot easier for my wife to give birth in 1958, '59, '60, and '63 because she was very young. None of our married friends had any complications except trying to avoid it. The responsiblity was nothing. My generation of boys wanted that. That was manhood, to have a job and a home and support a family. Now these young boys refuse to marry, can have sex with whomever. I think the women have suffered the most. I suspected it in the beginning. They have missed something, and it is gone. They are childless, and it is over. We are going to pay for this. It is unfair.


Melanie from Charlottesville, VA: Thanks for sharing so many of your intimate thoughts and experiences in MEDITATIONS. It takes a person of great courage and moral and spiritual fortitude to endure what you have in the last ten years. Thank you for not giving up and continuing to write. We are blessed for that. I am wondering how it feels -- as a man -- to have so many people know of the depression and hardship you have endured over the years? Was sharing the highly personal in essay form more difficult than fiction?

Andre Dubus: First, Thank you very much. I work so hard trying to get the rhythm and the right words that by the time I finis an essay it only feels like a piece of work. It does not feel like me, so I don't think about being exposed. It is true. If I felt like it was about me I would worry about it, but I don't. There is nothing wrong with being depressed. I would be certifiably crazy if I hadn't been.


Clint from Brixton, England: Elmore Leonard says that you are his hero. Who are your literary heroes, and who would you say has influenced your style of writing the most?

Andre Dubus: The truth is, Elmore Leonard and I correspond because of my admiration for his work and what it has taught me about dialogue, point of view, and transitions. I have been inspired and influenced by nearly everything I have read, so I can name Edna O'Brien, Anton Chekhov, Faulkner, Hemingway, and Graham Greene, but there are probably 100 more. Nadine Gordimer. Gina Berriault, Tobias Wolff, and Mr. Tolstoy. Also Flaubert.


Scott from San Francisco, CA: What would you say are the greatest challenges of being a writer? Would you advise someone to go down this route?

Andre Dubus: Integrity. You have to make your own art. Be wary of editors, agents, and other well-intentioned people. Make sure you write what is coming to you, not what you think the market wants. That is the end of an artist. Might as well go to Hollywood and write comedy scripts.


Theresa from Richmond, VA: Does your Thursday night writing group still meet, the one you write about in "Letter to a Writer's Workshop"? What place does this group serve in your life now? I like that you wrote at the end, "Let's listen to the stories but try to stay general rather than specific, and let the mysteries go home with the writer." I am in a writing group and too often I feel this way after my stories have been critiqued too much. Thanks for including this essay.

Andre Dubus: Thank you, and yes, we still meet. I love meeting with the writers. We are honest but encouraging. People can leave with their souls intact. You may be in the wrong workshop. They could be deleterious.


Simon from Athens, GA: Generally, how long after an experience do you write about it? Do you jot down words or thoughts at the time and then let them gel for a while? For instance, was your essay "About Kathryn" regarding your sister's rape written right after to purge your anger? What about the essay "Witness"? How long did it take you to write about the accident?

Andre Dubus: Usually, months or a year I gestate. But you are right. "About Kathryn" and "Witness" came rushing at me, and I had to pick up my pen.


Colleen from Portland, ME: Why do you think that you are not a novelist? What attracts you about the short story or essay form?

Andre Dubus: I don't get ideas for novels. People in publishing have demonically asked me to write a novel, but I always felt that this was about money. I always told them that of course I could write a novel, and it would be a novel by a short story writer who forced something to be of novel length to get more royalties. I love compression. I was writing a second novel in the late '60s when I read a Chekhov story called "Peasants." I threw away the novel's two chapters and began learning to compress. In the story, Chekhov writes about a family in a village of peasants in Russia. Therefore, he wrote about the majority of the Russian people, because most of them were peasants in his time. He did that in 30 pages. For me it was like a young kid watching Willie Mays. I decided I wanted to try to do that. I haven't done it as Chekhov did in "Peasants." I used to tell my literature students that Chekhov didn't write novels because he didn't have to. He got it down in ten pages. No one has matched him.


Scott from Miami, FL: Do you read the critical reviews of your books? How do they affect you?

Andre Dubus: I decided in my 20s before I had published a book to read the reviews, then throw them away and forget them. My reason was if I gave credence to a good review I would have to give equal credence to a bad review. Yes, I read them, but I take the good with the bad. I try to focus on the now.


Leighton from Brooklyn, NY: I find the people that inhabit your stories and essays highly identifiable. I like that when I read your books. I feel like I have met these folks in a bar or along the street and maybe not paid them notice, though I should have. Where would you say you draw your inspiration for characters from? Do they resemble people you have met or loved?

Andre Dubus: I don't use characters I know. I use bodies sometimes, but nothing else. So I make up characters. God know where they come from, but certainly people I have known have been significant. I have never, for instance, written about a Marine I knew, but I have written about a lot of words about Marines. So there is some connection there! I have put my older children in stories, but mostly just physical descriptions. I could not write about my children, but I don't know what it feels like to be anyone else.


Sarah from Pittsburgh, PA: What are you working on now? When can we expect to see some new stories? Thanks for MEDITATIONS. I just bought it and am really enjoying it.

Andre Dubus: Last summer and fall, I wrote a western story, something I have wanted to do since my 20s. In July it will be in Oxford magazine from the University of Miami in Ohio, and I am now working on a sequel to that story. In between those I wrote a nonwestern story, which will be in Epoch (a quarterly from Cornell) sometime this year. I hope that I can write another book of stories. I have promised my publisher I will.


Moderator: Thank you for joining us tonight, Andre Dubus. It has truly been a pleasure, and we hope you will join us again sometime soon. Before you go, do you have any last words for our online audience?

Andre Dubus: God bless you, in whatever form he comes to you.


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