BOOK REVIEWS
Loop Group, Larry McMurtry, Simon and Schuster, New York, 2004
To readers of this space it is no surprise that I am reviewing a Larry McMurtry novel. I have “discovered” this little Texas gem of an author recently (although I knew of him and some of his work earlier). Naturally, once I get “high” on an author I tend to read everything that I can get my hands on. A partial reason for that is that the number of fiction writers who hold my attention is rather limited, but mainly I like to see the high and low sides of the writer’s career so that I can revel in the reflected glory of my very good choice in picking the author to comment on. I also tend to read an author’s output as I lay my hands on his or her work rather than any particular order. Thus, at present I am reviewing this late work (2004) and an early work Leaving Cheyenne (1962) at the same time. "Loop Group" definitely suffers in comparison to that earlier work.
If I tried to put my finger on what is the outstanding attribute of a good Larry McMurtry read that would most probably be that he is a thoughtful and credible storyteller. The structure of such a story permits one to sift through life’s issues whether it is the vagaries of coming of age, the trauma of a mid-life crisis or the grimness of the struggle against mortality. This, moreover, has nothing to with locale or occupation. As a die-hard older urban Northerner Western stories, modern or from the Old West, would not usually be my natural choice of reading. However, when McMurtry is in his “high” story telling mode and he develops incidents that are believable and has characters do things that seem within the realm of human experience -and that permit one to care about and reflect upon the fates of the characters if only for the length of the story- then he is a premier American writer. That, unfortunately, is not the case here. Why?
From page one of Loop Group McMurtry gave no reason for this reviewer to delve into the characters, their lives, their problems or for that matter their solutions to those problems. Here a couple of long time, native middle level female denizens of the Hollywood film wars, Maggie and Connie, who have known each other forever, and have competed with each other for men, among other things, are struggling with their mortality. That is the unkind fate of all sixty somethings although it is not clear whether that fact alone is worthy of literary attention, at least to this sixty-something reviewer. Moreover, Mr. McMurtry has, at least in some of his 21st century writing, been bitten by the “magical realism” bug that has become a fashion among the literati of late. His plot here, such as it is, has the pair working through interminable problems in order to go on a trip to Texas so they can find some lost 'fountain of youth' there in order to fortify themselves for the last period of their lives. Along the way they encounter a series of misadventures that defy description. Hence the magical realism tag.
Moreover, interspersed throughout, to further plague Maggie and Connie are the problems confronting Maggie’s three married adult daughters with children and Connie’s unmarried, recovering drug-addicted son. The sum total of these problems is a quick sociological look at every contemporary problem of American family life not excluding the sexual ones- in the space of a few weeks. Needless to say we are today also in the “new age” when everyone must have a sexual identity and therefore a crisis of sexual identity. This little trope is also on display in McMurtry’s "When the Light Goes Out" (2007) - the “final” segment of "The Last Picture Show’s" Duane Moore story as he hits his mid-sixties.
In retrospect "Loop Group" is the preparation for "When The Lights Goes Out" except from the female perspective. That, in a nutshell, is the real problem here. As will be apparent in my review of "Leaving Cheyenne" that will follow this one McMurtry is not particularly good with individual female character development when women are in the “starring role” by themselves. I had virtually no empathy for either Maggie or Connie. Nor did I have it for Harmony in "Desert Rose", another female-centered saga . Molly, an extremely rich and independent character, of "Leaving Cheyenne" and Karla and Jacy of "The Last Picture Show" series are very different stories. A further problem along that same line is that when McMurtry leaves his Texas locale he tends to lose his way. That happened here with the Hollywood setting, it happened in "Desert Rose" set in Las Vegas and "All My Friend Are Going To Be Stranger" set mainly in Northern California. Give me Karla, Jacy, Molly, give me Texas but Mr. McMurtry please put out the light on these “magically realistic” efforts. Enough said.
A Texas Love Story
Leaving Cheyenne, Larry McMurtry, Texas A&M University Press, College Station, Texas, 1962
The first two paragraphs were used above in reviewing "Loop Group"
To readers of this space it is no surprise that I am reviewing a Larry McMurtry novel. I have "discovered" this little Texas gem of an author recently (although I knew of him and some of his work earlier). Naturally, once I get "high" on an author I tend to read everything that I can get my hands on. A partial reason for that is that the number of fiction writers who hold my attention is rather limited, but mainly I like to see the high and low sides of the writer's career so that I can revel in the reflected glory of my very good choice in picking the author to comment on. I also tend to read an author's output as I lay my hands on his or her work rather than any particular order. Thus, at present I am reviewing this late work (2004) and an early work Leaving Cheyenne (1962) at the same time. Loop Group definitely suffers in comparison to that earlier work.
If I tried to put my finger on what is the outstanding attribute of a good Larry McMurtry read that would most probably be that he is a thoughtful and credible storyteller. The structure of such a story permits one to sift through life's issues whether it is the vagaries of coming of age, the trauma of a mid-life crisis or the grimness of the struggle against mortality. This, moreover, has nothing to with locale or occupation. As a die-hard older urban Northerner Western stories, modern or from the Old West, would not usually be my natural choice of reading. However, when McMurtry is in his "high" story telling mode and he develops incidents that are believable and has characters do things that seem within the realm of human experience -and that permit one to care about and reflect upon the fates of the characters if only for the length of the story- then he is a premier American writer. That, fortunately, is the case here. Here we have "high" McMurtry. Why?
There are many ways to tell a love story. There are many ways to conceive of a love triangle, as here with the saga of the lives of Gid, Johnny and Molly out in West Texas, just 'East of Eden' in Thalia by McMurtry's lights, in roughly the middle third of the 20th century. There are many ways to put obstacles in the way of a satisfactory resolution of a love triangle in puritanically-driven America. McMurtry has come up with a very innovative method of doing this. In the first section we get the all the tensions of young love, hindered by a father-inspired driven sense of responsibility, as told by Gid. In the second section we get the mixed fruits of that puritan sense of responsibility on Gid's part, the lack of it on Johnny's part and also of girlish indecision as told by Molly, with the proviso that as she tells her tale she is a mother who has lost two sons to war and paid a pretty high price for that earlier indecision. In the final segment we get the inevitable struggle against the vicissitudes of mortality, as told humorously and with a little pathos by Johnny.
This is nicely done and the individual stories are woven together almost seamlessly so that the first event concerning Gid's and Johnny's rivalry for Molly described by Gid in Chapter One gets a very different look as told by Johnny at the end forty years later. Moreover, with some other nice humorous touches added alone the way concerning some of the minor characters like Molly's father and an old goat herder, including animals, as well as exploration of the necessary hardships of running a ranch, a labor-intensive business operation subject to all the randomness of nature. But, better than that we are given an emotional roller coaster ride as these three West Texas characters try to make sense of life, their previous histories and their entanglements together. If "Loop Group" was a low in the literary marathon McMurtry is running then "Leaving Cheyenne" is prima facie evidence for his honored place in the American literary pantheon. Kudos.
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