Three Farmers on Their Way to a Dance

by Richard Powers Narrated by John Skelley

Overview

In the spring of 1914, renowned photographer August Sander took a photograph of three young men on their way to a country dance. This haunting image, capturing the last moments of
innocence on the brink of World War I, provides the central focus of Powers's brilliant and compelling novel. As the fate of the three farmers is chronicled, two contemporary stories unfold. The young
narrator becomes obsessed with the photo, while Peter Mays, a computer writer in Boston, discovers he has a personal link with it.
The three stories connect in a surprising way and provide the reader with a mystery that spans a century of brutality and progress.

Editorial Reviews

Chicago Tribune

Powers is a superb writer.

Newsday

A scintillating, high-octane intellectual flight of fancy.

Illinois Times

Fiercely original, formally brilliant, deeply moving.

New York Times Book Review

His writing engages . . . Sentence by sentence and page by page, the work shows Mr. Powers to good advantage.

Philadelphia Inquirer

Dazzling and audacious . . . nothing short of astounding.

A. O. Scott

What is most remarkable about...the body of Powers's work so far is how much life is in it, and how much intelligence . . . I can think of no American novelist of his generation who makes a stronger [case] that the writing of novels is a heroic enterprise, and perhaps, even a matter of life and death. —New York Review of Books

Gerald Howard

One of the few younger American writers who can stake a claim to the legacy of Pynchon, Gaddis, and DeLillo. —The Nation

Richard Eder

A writer of blistering intellect . . . [Powers is] a novelist of ideas and a novelist of witness, and in both respects, he has few American peers. —Los Angeles Times

Sven Birkerts

Powers is a genuine artist, athinker of rare synthetic gifts, maybe the only writer working — Pynchon and DeLillo excepted — who can render the intricate dazzle of it all and at the same time plumb its philosophical implications... —Esquire

Kevin Berger

America's most ambitious novelist . . . No one who becomes immersed in [his] poetry will walk out the way he or she came in. —San Francisco Chronicle

Tom Bissell

Richard Powers is America's greatest living novelist. —The Boston Review

Melvin Jules Bukiet

Powers hovers impossibly between extremes with a tightrope walker's perfect balance. He may be at once the smartest and the most warm-hearted novelist in America today. —The Chicago Tribune

Library Journal

Three farmers walking along a German road are captured by photographer August Sander on the eve of World War I . Years later this photograph, exhibited in a Detroit museum, so haunts the narrator that he embarks on an exhaustive search for any information that will help interpret it and account for its extraordinary impact on him. This same picture is uncovered by a young computer magazine editor in his own search for the identity of a woman he has glimpsed in an Armistice Day parade. As the stories intersect, the photograph unveils the interconnectedness of individuals that is history and demonstrates that the individual's search for self through the past is likely to pose more questions than it answers. Because of its complex plot, this first novel will appeal mainly to sophisticated readers. But Powers delicately meshes contemporary problems and preoccupations, and his style is wonderful. Highly recommended for modern fiction collections. Cynthia Johnson Whealler, Cary Memorial Lib., Lexington, Mass.

From the Publisher

"A scintillating, high-octane intellectual flight of fancy." — Newsday

"America's most ambitious novelist . . . No one who becomes immersed in [his] poetry will walk out the way he or she came in." — San Francisco Chronicle

"One of the few younger American writers who can stake a claim to the legacy of Pynchon, Gaddis, and DeLillo." — The Nation

"Powers hovers impossibly between extremes with a tightrope walker's perfect balance. He may be at once the smartest and the most warm-hearted novelist in America today." —  Chicago Tribune

"Powers is a genuine artist, a thinker of rare synthetic gifts, maybe the only writer working—Pynchon and DeLillo excepted—who can render the intricate dazzle of it all and at the same time plumb its philosophical implications." —  Esquire

Esquire

"Powers is a genuine artist, a thinker of rare synthetic gifts, maybe the only writer working—Pynchon and DeLillo excepted—who can render the intricate dazzle of it all and at the same time plumb its philosophical implications."

The Nation

"One of the few younger American writers who can stake a claim to the legacy of Pynchon, Gaddis, and DeLillo."

Chicago Tribune

"Powers hovers impossibly between extremes with a tightrope walker's perfect balance. He may be at once the smartest and the most warm-hearted novelist in America today."

San Francisco Chronicle

"America's most ambitious novelist . . . No one who becomes immersed in [his] poetry will walk out the way he or she came in."

 Esquire

"Powers is a genuine artist, a thinker of rare synthetic gifts, maybe the only writer working—Pynchon and DeLillo excepted—who can render the intricate dazzle of it all and at the same time plumb its philosophical implications."

 Chicago Tribune

"Powers hovers impossibly between extremes with a tightrope walker's perfect balance. He may be at once the smartest and the most warm-hearted novelist in America today."

Product Details

BN ID:	2940170734320
Publisher:	Recorded Books, LLC
Publication date:	10/20/2020
Edition description:	Unabridged

Read an Excerpt

Chapter One

I Outfit Myself for a Trip to Saint IvesCats, kits, sacks, wives: how many were going to St. Ives?

For a third of a century, I got by nicely without Detroit. First off, I don't do well in cars and have never owned one. The smell of anything faintly resembling car seats gives me motion sickness. That alone had always ranked Motor City a solid third from bottom of American Cities I'd Like to See. I always rely on scenery to deaden the inconvenience of travel, and "Detroit scenery" seemed as self-contradictory as "movie actress," "benign cancer," "gentlemen of the press,"' or "American Diplomacy." For my entire conscious life I'd successfully ignored the city. But one day two years ago, Detroit ambushed me before I could get out of its way.

The Early Riser out of Chicago dropped me off alongside Grand Trunk Station, a magnificent building baptized in marble but now lying buried in plywood. I lugged my bag-and-a-half into the terminal, a public semi darkness stinking of urine and history. Subpoenaed relatives met their arriving parties under the glow of a loudspeaker that issued familiar, reassuring tunes.

One hundred years ago, the Grand Trunk must have quickened pulses. Pillars of American Municipal balanced a fifty-foot vault on elaborate Corinthian capitals: America copying England copying France copying Rome copying the Greeks. A copper dome with ceramic floral trim bore the obligatory inscriptions from Cicero and Bill Taft. Now the station's opulence left it a mausoleum, empty except for the Early Riser executives who threaded the rotunda in single file.

I fell automatically into line,sensing the station's lavout. The soaring ceiling seemed out of proportion to the size of the hall. When my eyes adjusted to Detroit's industrial-grade light, I received a shock, the same shock I had felt as a child when, at a public swimming pool, I saw an old vet unstrap and remove his leg before taking a dip. The antique terminal had been similarly amputated: the corridor I walked down was not the station's length but only its width. The Grand Trunk had been sent packing: plywood sheets boarded off palatial wings and multiple gates, leaving only this reduced chicken run between a lone arrival platform and the main exit.

Transferring trains in Detroit was the cheapest if not the most expedient way of getting from Chicago to Boston. Drastically cut fares promoted a new route, the Technoliner, for the first month of its run. The line subsequently folded, the technolinees long ago for saking Detroit for Houston and northern California, and even longer ago forsaking trains for planes. Another case of our railway being behind schedule. Nevertheless, I sank as low as Toledo to take advantage of the reduced fare.

When I'm in money, I can leave half-eaten meals in restaurants along with the best. I've worked hard at overcoming a natural stinginess. But when I'm out of money-a cyclical occurrence. paralleling America's boom/bust economy of the last century-I easily fall back on old habits. This trip found me once again short, having just spent a year in the Illinois backwoods on a small business project that did not pan out. "'Pan out" comes, I assume, from the prospectors' days. Flash in the pan. I spent my early thirties in isolation, chasing flashes in the pan.

With my technical background, I knew that I could find work in Boston providing I could put down a security deposit on an efficiency and still, have enough cash left over to dry-clean my interview suit. My money margin, marginalia in this case, did not worry me so much as the immediate problem of how to spend the six hours between the Early Riser and the Technoliner in a city I had, until then, celebrated by avoiding. It was me against motion sickness in the city autos built.

But as sometimes happens when killing time, I would come across something in my brief Detroit layover that would kill not just six hours but the next year and more before I came to terms with it. Sifting the downtown for novelties that might deaden ten minutes, I did not imagine ihat the next ten months would find me obsessed with everything I could learn about Motor City and the fifth-grade farmer who put it on the map.

When I made my stopover, Detroit had already been undergoing a manufactured and heavily publicized rebirth for some time. The emblem of this new era, the Renaissance Center, may be the single most ambitious building project of recent times. Its five black towers outscale the rest of the city the way Chartres Cathedral dwarfs its surrounding town. Four cylinders flank a central, massive pillar, each hanging black glass over girders in disguised International Style.

But if the city were not already dead, would it need a rebirth? The name "Renaissance Center" resembles an ad campaign declaring Sudso "All the cleaner you'll ever need,"or a restaurant assuring, "What we serve is really a meal." And just as when telling an old widower that he looks well we mean he ought, not to push his luck, the leading citizens of Detroit, in naming the Renaissance Center, implied that they would be pleased if the city could, at this point, break even.

The size and opulence of the center meant to attract tourists and conventioneers into double-A, self-contained luxury. The pal-ace executed its purpose too well. It drew people(read money) up and away from the surrounding businesses, and because the towers were so self-sufficient a village, the people never came back out. The area surrounding the Renaissance Center showed the signs of a hasty evacuation and rout. Gravitating toward the towers, I passed row on row of brick, triple-decked residences standing vacant, their windows and doors broken open to reveal nothing inside.

I figured that the Renaissance Center (dubbed the Ren Cen by those who make a living truncating all words into monosyllables)

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