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Russell Banks's Top Ten List
1. Don Quixote by Miguel de Cervantes (1605, 1615). Considered literature’s first great novel, Don Quixote is the comic tale of a dream-driven nobleman whose devotion to medieval romances inspires him to go in quest of chivalric glory and the love of a lady who doesn’t know him. Famed for its hilarious antics with windmills and nags, Don Quixote offers timeless meditations on heroism, imagination, and the art of writing itself. Still, the heart of the book is the relationship between the deluded knight and his proverb-spewing squire, Sancho Panza. If their misadventures illuminate human folly, it is a folly redeemed by simple love, which makes Sancho stick by his mad master “no matter how many foolish things he does.”
2. Moby-Dick by Herman Melville (1851). This sweeping saga of obsession, vanity, and vengeance at sea can be read as a harrowing parable, a gripping adventure story, or a semiscientific chronicle of the whaling industry. No matter, the book rewards patient readers with some of fiction’s most memorable characters, from mad Captain Ahab to the titular white whale that crippled him, from the honorable pagan Queequeg to our insightful narrator/surrogate (“Call me”) Ishmael, to that hell-bent vessel itself, the Pequod.
3. Adventures of Huckleberry Finn by Mark Twain (1884). Hemingway proclaimed, “All modern American literature comes from . . . ‘Huckleberry Finn.’ ” But one can read it simply as a straightforward adventure story in which two comrades of conve nience, the parentally abused rascal Huck and fugitive slave Jim, escape the laws and conventions of society on a raft trip down the Mississippi. Alternatively, it’s a subversive satire in which Twain uses the only superficially naïve Huck to comment bitingly on the evils of racial bigotry, religious hypocrisy, and capitalist greed he observes in a host of other largely unsympathetic characters. Huck’s climactic decision to “light out for the Territory ahead of the rest” rather than submit to the starched standards of “civilization” reflects a uniquely American strain of individualism and nonconformity stretching from Daniel Boone to Easy Rider.
4. The Sound and the Fury by William Faulkner (1929). A modernist classic of Old South decay, this novel circles the travails of the Compson family from four different narrative perspectives. All are haunted by the figure of Caddy, the only daughter, whom Faulkner described as “a beautiful and tragic little girl.” Surrounding the trials of the family itself are the usual Faulkner suspects: alcoholism, suicide, racism, religion, money, and violence both seen and unseen. In the experimental style of the book, Quentin Compson summarizes the confused honor and tragedy that Faulkner relentlessly evokes: “theres a curse on us its not our fault is it our fault.”
5. The Odyssey by Homer (ninth century b.c.e.?). Where The Iliad tells of war, The Odyssey is the story of survival and reconciliation following the ten-year battle with Troy. Where Achilles was defined by warrior brutality, Odysseus, King of Ithaca, is defined by his intelligence and wit. This epic poem follows Odysseus on his adventures as he struggles —against the threats of sea monsters and the temptation of the sirens’ song —to be reunited with his son Telemachus, his faithful, clever queen Penelope, and their kingdom.
6. The Canterbury Tales by Geoffrey Chaucer (1380s?). Not so much a single poem as a gathering of voices ranging from bawdy to pious, this captivating work presents a panoramic view of medieval England. Vivid, direct, and often irresistibly funny, the tales are told by pilgrims making their way to Canterbury to visit the shrine of Saint Thomas Beckett. Each night another member of the party —a knight, a scholar, a miller —tells a story, and tale by tale, a portrait emerges of the diversity and delight of human possibility.
7. War and Peace by Leo Tolstoy (1869). Mark Twain supposedly said of this masterpiece, “Tolstoy carelessly neglects to include a boat race.” Everything else is included in this epic novel that revolves around Napoleon’s invasion of Russia in 1812. Tolstoy is as adept at drawing panoramic battle scenes as he is at describing individual feeling in hundreds of characters from all strata of society, but it is his depiction of Prince Andrey, Natasha, and Pierre —who struggle with love and with finding the right way to live —that makes this book beloved.
8. Madame Bovary by Gustave Flaubert (1857). Of the many nineteenth-century novels about adulteresses, only Madame Bovary features a heroine frankly detested by her author. Flaubert battled for five years to complete his meticulous portrait of extramarital romance in the French provinces, and he complained endlessly in letters about his love-starved main character — so inferior, he felt, to himself. In the end, however, he came to peace with her, famously saying, “Madame Bovary: c’est moi.” A model of gorgeous style and perfect characterization, the novel is a testament to how yearning for a higher life both elevates and destroys us.
9. The Brothers Karamazov by Fyodor Dostoevsky (1880). In perhaps the consummate Russian novel, Dostoevsky dramatizes the spiritual conundrums of nineteenth-century Russia through the story of three brothers and their father’s murder. Hedonistic Dmitri, tortured intellectual Ivan, and saintly Alyosha embody distinct philosophical positions, while remaining full-fledged human beings. Issues such as free will, secularism, and Russia’s unique destiny are argued not through authorial polemic, but through the confessions, diatribes, and nightmares of the characters themselves. An unsparing portrayal of human vice and weakness, the novel ultimately imparts a vision of redemption. Dostoevsky’s passion, doubt, and imaginative power compel even the secular West he scorned.
10. One Hundred Years of Solitude by Gabriel García Márquez (1967). Widely considered the most popular work in Spanish since Don Quixote, this novel —part fantasy, part social history of Colombia — sparked fiction’s “Latin boom” and the popularization of magic realism. Over a century that seems to move backward and forward simultaneously, the forgotten and offhandedly magical village of Macondo — home to a Faulknerian plethora of incest, floods, massacres, civil wars, dreamers, prudes, and prostitutes — loses its Edenic innocence as it is increasingly exposed to civilization.