Friday's Forgotten Books, February 10, 2017

 Next week, forgotten novels about difficult children for those who dare.

 

 (from the archives, Ron Scheer)

Elmer Kelton, Texas Showdown

This book is actually two short novels by Elmer Kelton, first published in the 1960s and reissued under one title by Forge in 2007. Pecos Crossing, originally titled Horsehead Crossing (1963), appeared under Kelton’s own name, while Shotgun, originally titled Shotgun Settlement (1969), was published under a house pseudonym, Alex Hawk.

First off, Elmer Kelton is one of my top-10 favorite western writers. He wrote with a strong sense of history and an informed awareness of the West Texas terrain, its flora and fauna, and its weather. I find it easy to believe in his characters. They are not just convenient types but possess an emotional depth that makes them three-dimensional.

I would say he achieves this by conceiving of them as ordinary people who get themselves into all-too-human predicaments that force them into making choices. And these in turn drive a plot that is both inevitable and often unpredictable. As in his novel Other Men’s Horses (reviewed here a while ago), his central characters are fundamentally decent people up against dangerously determined men ready to lie, thieve, and kill.

His women are strong-willed and resourceful. Romance plays a role in both novels in this volume, as a young man falls in love with a girl who complicates matters as he follows his heart, though at the risk of losing his life.

Often, a pivotal character is a lawman who has learned how to wield authority with a firm but easy hand and has earned the respect of others by exercising a strong sense of fair play, even when upholding the law puts him on the unpopular side of a dispute.

One other thing. While there is a kill-or-be-killed element in Kelton’s fictional West, and men carry and use firearms, there is not an assumption that the reader is a gun enthusiast who needs to know the make, model, and caliber of every weapon that shows up in the narrative. It’s probably just me, but this habit of western writers today immediately draws attention to itself--like a fetish. For this reader, it comes across as too much information and disturbs rather than reinforces the illusion of a credible scene.

Pecos Crossing.  The central characters in this exciting yarn are two young cowboys who stop a stage to collect unpaid wages from one of the passengers. In the resulting confusion, a woman is accidentally shot dead. Her husband, a retired Ranger, then tracks down the boys to take revenge for her death.

Fleeing westward, the two come upon a young woman and her father, who is dying of TB. One of the cowboys, Johnny Fristo, wants to help them. His partner, who is chiefly responsible for the trouble the two are in, disagrees. Fristo, with a stronger sense of decency, prevails, though they lose time and the Ranger eventually catches up with them at a crossing on the otherwise treacherous Pecos River.

Like Other Men’s Horses, the story unfolds as a series of adventures encountered while traveling across a rough and mostly unsettled frontier.

Shotgun. The characters in this novel are drawn from the more usual stock of recognizable types that appear in westerns: the big ranch owner, his sons, a problematic neighboring rancher, his daughter, and a cunningly vicious villain who wants both men’s ranches.

Blair Bishop is the cattleman who, over a lifetime, has acquired a vast acreage. At the novel’s start, his main problem is a long drought that is drying up the water supply for his herds and leaving them with little grass to feed on. There has been an invasion of the thirsty cattle of his neighbor, Clarence Cass, and they are being driven back where they came from.

Relations between the two ranchers are further complicated by the fact that Bishop’s son, Allan, and Cass’s daughter, Jessie, make no secret of having fallen in love and intend to run off together if Bishop doesn’t give them his blessing.

Enter the villain of the story, Macy Modock, with a ten-year grievance against Bishop, who once had him sent to the pen for some wrongdoing. Having served his time, Modock hires a gunman and a shady lawyer to put the squeeze on Bishop by claiming legal ownership of parts of his ranch. Strengthening his hand, Modock lures Cass into his scheme.

In a long and suspenseful conclusion, Jessie is holed up in a barn, bravely exchanging shots with Modock, while Allan lies unconscious beside her. Like the young women in Pecos Crossing and Other Men’s Horses, she is a credit to her gender.

Sergio Angelini, WOMAN ON THE ROOF, Helen Nielsen
Yvette Banek, FEATHERBRAINED, Bob Tarte
Joe Barone, THE ZIG ZAG GIRL, Elly Griffiths
Les Blatt, THE RED HOUSE MYSTERY, A.A. Milne
Brian Busby, BEHIND THE BEYOND, Stephen Leacock
Bill Crider, CODE SEVEN, Lou Cameron
Martin Edwards, YOU PLAY THE BLACK AND THE RED COMES UP, Eric Knight
Curt Evans, ANONYMOUS FOOTSTEPS, John N. O'Connor
Richard Horton, STORY TELLER, Maude Lindsay
Jerry House, THE WIZARD OF VENUS AND PIRATE BLOOD, Edgar Rice Burroughs
George Kelley, INTERGALACTIC EMPIRES, edited by Asimov, Greenberg and Waugh
Margot Kinberg, IN THE WOODS, Tana French
B.V. Lawson, RISING OF THE MOON, Gladys Mitchell
Evan Lewis, DOC SAVAGE: EMPIRE OF DOOM
Steve Lewis/David Vineyard, THE PAINTED GUN, Bradley Spinelli
Todd Mason, THE EUREKA YEARS: Boucher and McComas's MAGAZINE OF FANTASY AND SCIENCE FICTION 1949-1954, edited by Annette Peltz McComa
J.F. Norris, DANGER NEXT DOOR, Q. Patrick
Neer, A MAN LAY DEAD, Ngaio Marsh
Matthew Paust, GIVE US A KISS, Daniel Woodrell and the Stories of Breece D.J. Pancake
James Reasoner, SIXGUN DUO, Ernest Haycox
Gerard Saylor, CLEAR BY FIRE, Joshua Hood
Kerrie Smith, THE MOVING FINGER, Agatha Christie 
Kevin Tipple, A DYING FALL, Elly Griffiths
TomCat, BEHOLD A FAIR WOMAN, Francis Duncan 
TracyK, STRONG POISON, Dorothy L. Sayers