And here it is, as promised, an early peek at the cover art for my western novel The Last Hunt, due out in mid-March.
Special thanks to Bobby Rockwell and the Rockwell Museum of Western Art for allowing me to use William Robinson Leigh’s original painting and to Chris Kent for a superlative job on the design.
The Last Hunt.
I haven’t traveled a lot—as frequent readers of this blog know—and find the concept of leaving my home office for an extended period of time onerous. But my two trips to the state of Montana have convinced me this mindset is not only silly but perhaps even counterproductive. On both occasions I returned refreshed, energized and inspired…and produced some fine work as a direct result of my rambles through “Big Sky country”.
The first time was back in late Spring, 2002 and I was in pretty wretched state. I’d just expended enormous energies completing final drafts of the two novellas that comprise my book Righteous Blood. There is incredible darkness in those pieces, almost as if I was trying to purge myself of all the vileness and fury I’d accumulated for who knows how long. The book was also intended to be a kind of “fuck you” to the entire horror genre, which, to my mind, took a nosedive into the toilet sometime in the mid-1990’s (sadly, it’s in even worse shape now). I no longer wanted anything to do with the field and had zero desire to be lumped in with the losers and hacks who made their home there. The morning we left for Great Falls, I was a burnt out case. When we returned, a week or so later, I was a new man.
Montana had worked its magic on me.
This time around, I had the same travel partner (my father-in-law, Ken Harman) but was in far better condition, mentally and creatively. The motivation behind our latest voyage was different too: we were going down to Livingston and spending a week interviewing historians and curators, familiarizing ourselves with some of the settings featured in my western novel, The Last Hunt. A research trip and I had a satchel of notes and a box of resource material to prove it. And because some of the action takes place in Yellowstone Park, we spent one entire day viewing some of the most spectacular, mysterious and breath-stealing scenery the world has to offer. I stood on a spot where I could see where much of the final part of the novel is set and, I gotta tell ya, kids, it gave me goosebumps.
Met a number of pretty amazing people as we rambled about the state and couldn’t believe how generous people were with their time, how friendly and forthcoming. Lee Whittlesey, historian at the Heritage and Research Center down in Gardiner, was a wonderful host and raconteur, his knowledge of the Park extraordinary, his anecdotes and detailed answers to my questions had me scribbling furiously to keep up. Lee, you’re a gem.
Paul Shea, the curator of the Gateway Museum in Livingston, showed me dozens of photos from the town’s early years and there were also amazing shots of Cinnabar and other local places of interest. And he did so in an office shrouded in plastic, workmen banging and sawing away, the museum undergoing extensive renovations at the time.
Our most fortuitous encounter in Livingston was with John Fryer, a man who just might be the single most charming individual I’ve ever had the pleasure of meeting. A natural, innate charm, nothing affected or manufactured. Anyone fortunate enough to be acquainted with John knows exactly of what I speak. We walked into John’s bookstore (“Sax & Fryer Company”) on Callender Street and knew we’d come to the right place. A terrific selection of novels and non-fiction and the ladies employed there rang in our purchases on a cash register that was over one hundred years old. Ken mentioned a certain classic saddle he’d just sold and John’s eyes brightened.
“Come on downstairs.” We followed him to his basement lair where he showed us a mini-museum of saddles and western-related gear. John and Ken chatted about the various items, both of them momentarily (and happily) cast back more than a century, men who could happily exist in less civilized times, untouched by modern technology.
Through John, we met the great western writer Richard Wheeler. Mr. Wheeler is a national treasure, six-time winner of the Golden Spur Award; he and Elmer Kelton are the two consistently best writers the genre has produced in the past thirty years. We spent several hours in his company and every minute of it was a treat. I’m not much of a drinker but I raised a bourbon or two that night, I tell you. Jim Beam Black, a truly infernal concoction. And, another true confession, that same evening I stood eight feet from one of the five finest authors in America and didn’t know it. After we’d said our farewells to Mr. Wheeler, the bartender signaled me over and murmured “Did you notice Jim Harrison at the end of the bar?”
I think I might have stopped breathing. Of course I had. I’d looked over, saw this rather hard-looking seed, and thought “Hmmmm…” Didn’t think “Could that be Jim Harrison?”, more like “What an interesting face…”
I wanted to beat my forehead against the bar. What a lost opportunity. Just to wander over, hold out my hand and say “Thank you for every word you’ve ever committed to paper.”
Well. There it is.
Livingston is a mecca for fine writers and artists of all stripes. Harrison and Tom McGuane are regularly sighted. Margot Kidder has a place in the hills and Walter Hill has been known to visit. Sam Peckinpah loved it there and shot holes in the ceiling of the Murray Hotel to prove it. “What did you do when Sam did that?” someone once asked the Murray’s long-suffering proprietor. “Plug ’em up and send him the bill,” was the wise, terse reply. There’s kind of a roll call of honor in the Murray’s decidedly un-trendy bar, signed photos of some of its more celebrated patrons. While Ken listened to a rather manic guy explain the proper way of catching and subduing a six-foot black snake, I took a wander, checked out the various black and white pictures—
And there he was. James Crumley. Thick, craggy face, somehow managing to simultaneously convey humor and immense sadness. To me, Crumley is the man. For years I dreamed of buying him a drink in a joint much like the Murray Bar, perch myself on a stool beside him and just…listen. He told wonderful, funny stories, the locals remember him well. Always attracted a retinue of hangers-on and sycophants when he blew into town for some good fishing and hard drinking. Ah, Jim…
I experienced a wave of sadness looking at his picture. Went back to the bar and ordered another bourbon, raised it in the direction of his portrait. To your good soul…
Met any number of terrific people in our travels. We stayed in three separate RV parks in the state and ran across all kinds of interesting folks, every one of them with a story to tell. I have no doubt that they will appear, in various guises and composites, in upcoming stories and novels; hope I can do justice to their complicated and conflicted natures. Never encountered anyone I didn’t like, nor did I hear the lame jingoism that one frequently associates with our friends south of the border.
Montana is a western state, its citizens contrary, stubbornly independent. They’re folks who believe in hard work, straight talk and minding your own damn business. People who don’t think much of government at any level—local, state and most especially those vultures in Washington. They’re tolerant of dissent and possess the sharp, practical minds of their ancestors. I admire them for their respect for their heritage and history and thank them for the hospitality they extended to Ken and I, the fellowship we found in their company.
Hopefully it won’t be another decade before I go back. I felt at home there and it’s taken time to re-acclimatize myself now that I’m back in Saskatchewan. The walls of my office seem a lot closer, almost oppressive. I miss the mountains and suspect I might have left a vital, irreplaceable part of myself at that overlook near Hell-Roaring Creek.
But here’s the thing: The Last Hunt is a western.
You heard me. I’m talking about hard-bitten gunslingers, tall, wide vistas, ornery horses, evil black hats, the whole bit.
Oh, sure, you say, but it’ll be like some kinda weird Cormac McCarthy hybrid, right? A whacked out, modernistic take on the Wild West, standing the entire genre on its head.
Nope, nope and…nope.
Y’see, I happen to love westerns. I don’t look down on the genre, relegate it to second-class status. I grew up watching Clint Eastwood and John Wayne movies. I enjoy reading the novels of Elmer Kelton and Richard S. Wheeler. They’re superb writers, regardless of categories and classifications.
I’m saddened by the cinematic decline of the western—the last truly great cowboy flick I saw was “The Long Riders”, made back in 1980. “The Unforgiven” (1992) was a decent movie but far too earnest and over-long. “The Long Riders” was the shit.
And since then there’ve been remakes and abominations like “Young Guns”—westerns by people who’ve never been near a horse in their lives and whose knowledge of the Old West is, put kindly, superficial. Hollywood has tried to update westerns, reinvent them with big name stars and budgets that would make even Michael Cimino swoon…but they’ve lost the spirit. Sam Peckinpah and John Ford had a real grasp of those who pioneered the land west of the Mississippi, their contrary natures, the sort of valor and resolution Alan LeMay refers to in a quote that precedes his classic novel, The Searchers:
“These people had the kind of courage that may be the finest gift of man: the courage of those who simply keep on, and on, doing the next thing, far beyond all reasonable endurance, seldom thinking of themselves as martyred, and never thinking of themselves as brave.”
In the course of writing The Last Hunt, by pure chance I happened across a reproduction of a William R. Leigh painting called “The Warning Shadow”. It was another one of those too-amazing-to-be-a-coincidence moments (and I should know, I’d had a few of them). The image was perfect for my book—but I had a dickens of a time tracking down who owned the rights. Finally, I was put in touch with the Rockwell Museum of Western Art (in Corning, New York) and Bobby Rockwell helped me secure permission to use the painting. Mr. Leigh’s artworks are highly prized, very collectible and I’m honored to have “The Warning Shadow” on my cover.
The cover accompanying this post is, I hasten to say, a mere mockup…but it gives you a fair idea of what to expect. Once our designer, Chris Kent, has a crack at it, the cover will look even better.
As for plot details, er, I think I’ll keep that to myself for now. When it gets closer to publication date I’ll be more forthcoming. Hoping the novel will be popular with fans of the western genre as well as people who just love a fast, entertaining read. Like my last two novels, I think The Last Hunt has a lot of cross-over appeal, the potential to draw a wide variety of readers.
I’ve spent the past three weeks going through the second draft and I like what I’m seeing. It’s a short novel, around 50,000 words, and it moves along at an exciting clip. Good, solid protagonist and memorable supporting players. By the time this book is released in the late fall, it’s gonna hum.
So stay tuned, check in every once in awhile for updates and further developments. Maybe even an excerpt or two, just to whet your appetite.
Yeah, I know, a western. But, trust me, it’s a helluva tale…