A brilliant example of how to assimilate and transmute powerful literary influence. And what a movie this dark, haunting...
Intensely dramatic debut, set in Kansas and points west and southwest during the 1870s: a direct homage to Cormac McCarthy’s highly praised fiction (both his Blood Meridian and the recent Border Trilogy) but also an original work of high distinction.
The protagonist, teenaged Gabriel Lynch, arrives from the East with his widowed mother Eliza and younger brother Ben at a train station where they’re met by her husband-to-be, Solomon Johns, a farmer who had been Eliza’s first love before her life with the boys’ father, a prosperous middle-class Baltimore mortician. Gabriel resents the opportunities lost, and the hard life they’re introduced to, and eagerly leaves “home,” joining another black boy (James) to ride with a group of cattle drovers. A bloodthirsty odyssey ensues, as the gang’s embittered leader Marshall Hogg (an amoral fatalist straight out of Dostoevsky) directs his minions to steal, rape, and murder, ever moving on, through Mexico, Arizona, and the Rockies, en route to California—away from the avengers who slowly, methodically pursue them. Durham tells this story with great skill, weaving together a beautifully plotted central action and extended italicized passages detailing the embattled growth to manhood of the stoical Ben and the steely determination of a bereaved Mexican soldier who’ll follow Hogg to hell and back. Meanwhile, he also depicts with hallucinatory vividness the enigmatic figure of Hogg’s second-in-command Caleb, a black drover who never speaks, and harbors a terrible secret indeed. The only flaw in the narrative is Durham’s inexplicable tendency toward an abstract rhetoric clearly influenced by both the aforementioned McCarthy and his major influence, Faulkner, which often produces moments of ludicrous and vague grandiosity (e.g., watching Caleb, “Gabriel thought him some dark figure of the apocalypse”). Such moments aside, Gabriel’s Story grates on the reader’s nerves unerringly, and frequently rises to real grandeur.
A brilliant example of how to assimilate and transmute powerful literary influence. And what a movie this dark, haunting tale will make.Pub Date: Feb. 1, 2001
ISBN: 0-385-49814-4
Page Count: 304
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2001
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
IN THE NEWS
SEEN & HEARD
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