RE: RARA-AVIS: Newton Thornburg

From: Ron Clinton (clinton65@comcast.net)
Date: 22 Jan 2010

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    A great -- albeit rather sad -- interview with him:

    http://www.twbooks.co.uk/crimescene/thornburginterview.htm

    Ron C.

    > -----Original Message-----
    > From: rara-avis-l@yahoogroups.com [mailto:rara-avis-l@yahoogroups.com] On
    > Behalf Of John Williams
    > Sent: Friday, January 22, 2010 10:07 AM
    > To: rara-avis-l@yahoogroups.com
    > Subject: Re: RARA-AVIS: Newton Thornburg
    >
    > sonny wrote:
    > >
    > >
    > >
    > >
    > > i was disappointed with 'eve's men' by thornburg, tho the man can
    > > write, no doubt about it and it's not without interest. but following
    > > 'cutter and bone' it was a let down for me. perhaps every other book
    > > by him will feel the same, which would be ashame. i will still be
    > > reading more of him.
    > >
    > The more recent Thornburgs are weaker than his early stuff. If you liked
    > Cutter and Bone try Dreamland and To Die In California, not quite as
    > good, but not too far off either. Meanwhile the success of The Road is
    > making me consider re-reading Thornburg's end of civilization novel,
    > Valhalla. I dimly recall that it was critiqued as neo-fascist at the
    > time, though I even more dimly remember disagreeing.
    >
    > John
    >
    > Oh, while I'm at it I've just dug out the entry on Thornburg I wrote for
    > St James Encyclopedia, donkey's years ago.
    >
    > _NEWTON THORNBURG_
    >
    >
    >
    > Newton Thornburg is pretty much the definitive crime writer as outsider.
    > Nine books in twenty-odd years obsessively work and rework the same
    > themes. These are stories of loners with harsh, short names - Hook,
    > Stone, Cutter, Bone, Crow, Cross - who have had their lives tipped out
    > of their control, generally by fate, the government or both.
    >
    >
    >
    > Thornburg's first novel _Gentleman Born_ marked out one of his major
    > themes, the family tragedy. Brandon Kendall is the last remnant of an
    > old money Midwestern family, his father killed himself, his cousins died
    > in a boating accident when they were children together, and golden boy
    > Brandon is intent on going to the bad just as fast and as far as he can.
    > Gambling and women are his chosen route to oblivion and along the way he
    > entangles himself in small town corruption. When the end comes it is
    > bleak and bloody and no surprise
    >
    >
    >
    > A relatively conventional caper novel, _The Knockover_, followed and
    > Thornburg's subsequent literary career has tended to oscillate between
    > these two poles. Family gone bad sagas like _Black Angus_ or _Beautiful
    > Kate_ have alternated with seemingly more conventional crime novels like
    > _Cutter And Bone_ (his greatest success, filmed as Cutter's Way),
    > _Dreamland_, or his most recent work, _The Lion At The Door_.
    >
    >
    >
    > However the contrast is superficial: all these books are driven by the
    > same question of how one comes to terms with unbearable loss. Cutter in
    > _Cutter And Bone_ was crippled in Vietnam, Greg Kendall in _Beautiful
    > Kate_ tries to come to terms with his sister's death following their
    > incestuous relationship, Blanchard in _Black Angus_ is losing his dream,
    > his farm in the Ozarks, Kohl in _The Lion At The Door_ has lost both
    > farm and family. This theme of loss takes flight as an echo of the
    > American mood post-Vietnam; a sense that the whole country is losing
    > control, losing sight of its dream.
    >
    >
    >
    > In his strangest novel, _Valhalla_, this connection is made all too
    > explicit. It's an apocalyptic novel of a near future in which America is
    > gripped by race war, and in it Thornburg's terminal pessimism as to the
    > state of America leads him into territory uncomfortably close to that
    > inhabited by the survivalist ultra-right..
    >
    >
    >
    > Thornburg's pessimism is far more effective in his crime-based novels
    > like _Cutter And Bone_ and _Dreamland_ whose pace prevents melancholic
    > wallowing and whose cynicism is all too appropriate to the task of
    > exposing the corporate roots of American crime. In these two novels
    > particularly, Thornburg stands as a defiantly individual voice within
    > the crime canon, bleak and true.
    >
    > * *
    >
    >
    >
    > >
    >
    >
    >
    > ------------------------------------
    >
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