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Book description
Richard Matheson is one of those insufferable talents who can marshal his considerable gifts, seemingly at will, to craft engaging, high quality tales in any genre he damn well pleases. It’s ridiculous, I mean how is that even fair? After cementing his legendary status in the fields of horror, fantasy, SF, even military fiction, Matheson decided to take a shot at a western.The result: a monumental work that embraces and incorporates all of the well-worn trappings of the genre, while simultaneously eviscerating the tropes and preconceptions at the heart of the western. In other words, a classic…of course!Matheson’s novel is a demythification of the archetype of the western gunslinger, and a peeling away of the veneer of the romantic perception of life on the western frontier in the latter half of the 1800s. Matheson dresses up his main character in the cliché’s of the classic pistoleer, and than proceeds to bushwhack away the heroic hyperbole to create an all too human story of an all too human man. In so doing, Matheson also explores the theme of the interplay between reputation and reality, and how fame can become a self-fulfilling prophecy, enslaving the man to the shadow of the legend.PLOT SUMMARY:Told in epistolary fashion, as a recounting of the personal diary of the main character, with an overarching framing device involving the discovery of the private journal, the novel recounts the life of Marshall Clay Hauser, the “Hero of the Plains,” reputed to be one of the deadliest gunmen to ever go heels. Through Clay’s straight-forward entries, with occasional historical context provided by the author, we learn of Clay’s first experience with killing as a Union solider in 1864. In a pivotal battle in which the Union was outflanked, Clay, with 30 bullets, “shot down nineteen Rebels, killing eleven…throwing such confusion and dismay into the Southern ranks that they began to waver” and almost single-handedly turned the tide in favor of the Union.  From that auspicious beginning, we follow Clay’s remarkable life’s journey, a path filled with violence, bloodshed, loss and pain that litter the Western U.S. During the narrative we come to see Clay’s predominant character traits include a natural restlessness (i.e., a desire for a life more exciting than farming), a preternatural speed and accuracy with a gun, and an complete lack of whatever gene is responsible for fear. I know, sounds like your stereotypical gunman, right? Read on, my friends, because what Matheson accomplishes is anything but typical.THOUGHTS:To explain how Matheson brilliantly inverts the classic western using the clichéd attributes of the gunfighter embodied in Clay Hauser, I’m going to make reference to the 1992 Clint Eastwood film, Unforgiven, because I assume more people are familiar with that work than this one. However, before I get to Clint, I think it is important to note that Matheson’s book was published in 1991, a year before Eastwood’s film. I have never heard that Matheson’s novel was any inspiration to Eastwood, but given the strong similarities in tone, message, and style, it would not surprise me.Anyway, in Unforgiven, so many aspects of both Clint Eastwood’s character, and those of his fellow stars, meet the classic surface sketch of the western outlaw/lawman, and yet the portrayals were completely stripped of all romantic or mythic characteristics. None of the characters in Unforgiven fit into the role of hero or villain, except as shadings along the long gray area in between. They were completely human, flawed and mortal.That is what Matheson accomplishes here, but in many ways he goes beyond what Eastwood accomplished because the novel format gives Matheson more canvas to work with in applying nuance to the narrative. Matheson deliberately eschewed trying to present this as some literary art piece, and is careful to use both the cadence and style of the typical western so that he can more effectively distort it from within. The man has a serious excess of skills.In sum, this is terrific novel that helps to redefine the genre in which it places itself. In fact, the only reason I’m not giving this 5 stars is because Clint stole a bit of Matheson’s thunder with his film, muting some of the freshness and originality of this noirish view of the western which has become so familiar to me now.  Hey, its Clint so I think Matheson will be okay with that.4.0 stars. HIGHLY RECOMMENDED.
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