Guide to Life and Literature of the Southwest
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J. Frank Dobie >> Guide to Life and Literature of the Southwest
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FRANK APPLEGATE (died 1932) wrote only two books, _Native
Tales of New Mexico_ and _Indian Stories from the Pueblos_,
but as a delighted and delightful teller of folk tales his
place is secure.
MARY AUSTIN seems to be settling down as primarily an
expositor. Her novels are no longer read, but the simple tales
in _One-Smoke Stories_ (her last book, 1934) and in some
nonfiction collections, notably _Lost Borders_ and _The
Flock_, do not recede with time.
While the Southwest can hardly claim Willa Cather, of
Nebraska, her _Death Comes for the Archbishop_ (1927), which
is made out of New Mexican life, is not only the best-known
novel concerned with the Southwest but one of the finest of
America.
Despite the fact that it is not on the literary map, Will
Levington Comfort's _Apache_ (1931) remains for me the most
moving and incisive piece of writing on Indians of the
Southwest that I have found.
If a teller of folk tales and plotless narratives belongs in
this chapter, then J. Frank Dobie should be mentioned for the
folk tales in _Coronado's Children, Apache Gold and Yaqui
Silver_, and _Tongues of the Monte_, also for some of his
animal tales in _The Voice of the Coyote_, outlaw and maverick
narratives in _The Longhorns_, and "The Pacing White Steed of
the Prairies" and other horse stories in _The Mustangs_.
The characters in Harvey Fergusson's _Wolf Song_ (1927) are
the Mountain Men of Kit Carson's time, and the city of their
soul is rollicky Taos. It is a lusty, swift song of the
pristine earth. Fergusson's _The Blood of the Conquerors_
(1931) tackles the juxtaposition of Spanish-Mexican and Anglo-
American elements in New Mexico, of which state he is a
native. _Grant of Kingdom_ (1850) is strong in wisdom
life, vitality of character, and historical values.
FRED GIPSON'S _Hound-Dog Man_ and _The Home Place_ lack the
critical attitude toward life present in great fiction but
they are as honest and tonic as creek bottom soil and the
people in them are genuine.
FRANK GOODWYN'S _The Magic of Limping John_ (New York, 1944,
OP) is a coherence of Mexican characters, folk tales, beliefs,
and ways in the ranch country of South Texas. There is
something of magic in the telling, but Frank Goodwyn has not
achieved objective control over imagination or sufficiently
stressed the art of writing.
PAUL HORGAN of New Mexico has in _The Return of the Weed_
(short stories), _Far from Cibola_, and other fiction coped
with modern life in the past-haunted New Mexico.
OLIVER LAFARGE'S _Laughing Boy_ (1929) grew out of the
author's ethnological knowledge of the Navajo Indians. He
achieves character.
TOM LEA'S _The Brave Bulls_ (1949) has, although it is a
sublimation of the Mexican bullfighting world, Death and Fear
of Death for its dominant theme. It may be compared in theme
with Stephen Crane's _The Red Badge of Courage_. It is written
with the utmost of economy, and is beautiful in its power.
_The Wonderful Country_ (1952), a historical novel of the
frontier, but emphatically not a "Western," recognizes more
complexities of society. Its economy and directness parallel
the style of Tom Lea's drawings and paintings, with which both
books are illustrated
_Sundown_, by John Joseph Mathews (1934), goes more profoundly
than _Laughing Boy_ into the soul of a young Indian (an Osage)
and his people. Its translation of the "long,
long thoughts" of the boy and then of "shades of the prison
house" closing down upon him is superb writing. The "shades of
the prison house" come from oil, with all of the world's
coarse thumbs that go with oil.
GEORGE SESSIONS PERRY'S _Hold Autumn in Your Hand_ (1941)
incarnates a Texas farm hand too poor "to flag a gut-wagon,"
but with the good nature, dignity, and independence of the
earth itself. _Walls Rise Up_ (1939) is a kind of _Crock of
Gold_, both whimsical and earthy, laid on the Brazos River.
KATHERINE ANNE PORTER is as dedicated to artistic perfection
as was A. E. Housman. Her output has, therefore, been limited:
_Flowering Judas_ (1930, enlarged 1935); _Pale Horse, Pale
Rider_ (1939), _The Leaning Tower_ (1944). Her stories
penetrate psychology, especially the psychology of a Mexican
hacienda, with rare finesse. Her small canvases sublimate the
inner realities of men and women. She appeals only to
cultivated taste, and to some tastes no other fiction writer
in America today is her peer in subtlety.
EUGENE MANLOVE RHODES died in 1934. Most of his novels--
distinguished by intricate plots and bright dialogue--had
appeared in the _Saturday Evening Post_. His finest story is
"Paso Por Aqui," published in the volume entitled _Once
in the Saddle_ (1927). Gene Rhodes, who has a canyon--on which
he ranched--named for him in New Mexico, was an artist; at the
same time, he was a man akin to his land and its men. He is
the only writer of the range country who has been accorded a
biography--_The Hired Man on Horseback_, by May D. Rhodes, his
wife. See under "Range Life."
CONRAD RICHTER'S _The Sea of Grass_ (1937) is a kind of prose
poem, beautiful and tragic. Lutie, wife of the owner of the
grass, is perhaps the most successful creation of a ranch
woman that fiction has so far achieved.
DOROTHY SCARBOROUGH'S _The Wind_ (1925) excited the wrath of
chambers of commerce and other boosters in West Texas--a
tribute to its realism.
_The Grapes of Wrath_, by John Steinbeck (1939), made Okies a
word in the American language. Although dated by
the Great Depression, its humanity and realism are beyond
date. It is among the few good novels produced by America in
the first half of the twentieth century.
JOHN W. THOMASON, after fighting as a marine in World War I,
wrote _Fix Bayonets_ (1926), followed by _Jeb Stuart_ (1930).
A native Texan, he followed the southern tradition rather than
the western. _Lone Star Preacher_ (1941) is a strong and
sympathetic characterization of Confederate fighting men woven
into fictional form.
In _High John the Conqueror_ (Macmillan, 1948) John W. Wilson
conveys real feeling for the tragic life of Negro
sharecroppers in the Brazos bottoms. He represents the
critical awareness of life that has come to modern fiction of
the Southwest, in contrast to the sterile action, without
creation of character, in most older fiction of the region.
_33_
Poetry and Drama
"KNOWLEDGE itself is power," Sir Francis Bacon wrote in
classical Latin, and in abbreviated form the proverb became a
familiar in households and universities alike. But knowledge
of what? There is no power in knowledge of mediocre verse.
I had rather flunk my Wasserman test
Than read a poem by Edgar A. Guest.
The power of great poetry lies not in knowledge of it but in
assimilation of it. Most talk about poetry is vacuous. Poetry
can pass no power into any human being unless it itself has
power--power of beauty, truth, wit, humor, pathos, satire,
worship, and other attributes, always through form. No poor
poetry is worth reading. Taste for the best makes the other
kind insipid.
Compared with America's best poetry, most poetry of the
Southwest is as mediocre as American poetry in the mass is as
compared with the great body of English poetry between Chaucer
and Masefield. Yet mediocre poetry is not so bad as mediocre
sculpture. The mediocre in poetry is merely fatuous; in
sculpture, it is ugly. Generations to come will have to look
at Coppini's monstrosity in front of the Alamo; it can't rot
down or burn up. Volumes of worthless verse, most of it
printed at the expense of the versifiers, hardly come to
sight, and before long they disappear from existence except
for copies religiously preserved in public libraries.
Weak fiction goes the same way. But a good deal of very bad
prose in the nonfiction field has some value. In an otherwise
dull book there may be a solitary anecdote, an isolated
observation on a skunk, a single gesture of some human being
otherwise highly unimportant, one salty phrase, a side glimpse
into the human comedy. If poetry is not good, it is positively
nothing.
The earliest poet of historical consequence the only form of
his poetical consequence--of the Southwest was Mirabeau
Buonaparte Lamar. He led the Texas cavalry at San Jacinto,
became president of the Republic of Texas, organized the
futile Santa Fe Expedition, gathered up six volumes of notes
and letters for a history of Texas that might have been as
raw-meat realistic as anything in Zola or Tolstoy. Then as a
poet he reached his climax in "The Daughter of Mendoza"--a
graceful but moonshiny imitation of Tom Moore and Lord Byron.
Perhaps it is better for the weak to imitate than to try to be
original.
It would not take one more than an hour to read aloud all the
poetry of the Southwest that could stand rereading. At the top
of all I should place Fay Yauger's "Planter's Charm,"
published in a volume of the same title. With it belongs "The
Hired Man on Horseback," by Eugene Manlove Rhodes, a long poem
of passionate fidelity to his own decent kind of men, with
power to ennoble the reader, and with the form necessary to
all beautiful composition. This is the sole and solitary piece
of poetry to be found in all the myriads of rhymes classed as
"cowboy poetry." I'd want Stanley Vestal's "Fandango," in a
volume of the same title. Margaret Bell Houston's "Song from
the Traffic," which takes one to the feathered mesquites and
the bluebonnets, might come next. Begging pardon of the
perpetually palpitating New Mexico lyricists, I would skip
most of them, except for bits of Mary Austin, Witter Bynner,
Haniel Long, and maybe somebody I don't know, and go to George
Sterling's "Father Coyote"--in California. Probably I would
come back to gallant Phil LeNoir's "Finger of Billy the Kid,"
written while he was dying of tuberculosis in New Mexico. I
wouldn't leave without the swift, brilliantly economical
stanzas that open the
ballad of "Sam Bass," and a single line, "He came of a
solitary race," in the ballad of "Jesse James."
Several other poets have, of course, achieved something for
mortals to enjoy and be lifted by. Their work has been sifted
into various anthologies. The best one is_ Signature of the
Sun: Southwest Verse, 1900-1950_, selected and edited by Mabel
Major and T. M. Pearce, University of New Mexico Press,
Albuquerque, 1950. Two other anthologies are _Songs of the
Cattle Trail and Cow Camp_, by John A. Lomax, 1919, reprinted
in 1950 by Duell, Sloan and Pearce, New York; _The Road to
Texas_, by Whitney Montgomery, Kaleidograph, Dallas, 1940.
Montgomery's Kaleidograph Press has published many volumes by
southwestern poets. Somebody who has read them all and has
read all the poets represented, without enough of
distillation, in _Signature of the Sun_ could no doubt be
juster on the subject than I am.
Like historical fiction, drama of the Southwest has been less
dramatic than actuality and less realistic than real
characters. Lynn Riggs of Oklahoma, author of _Green Grow the
Lilacs_, has so far been the most successful dramatist.
_34_
Miscellaneous Interpreters and Institutions
ARTISTS
ART MAY BE SUBSTANTIVE, but more than being its own excuse for
being, it lights up the land it depicts, shows people what is
significant, cherishable in their own lives and environments.
Thus Peter Hurd of New Mexico has revealed windmills, Thomas
Hart Benton of Missouri has elevated mules. Nature may not
literally follow art, but human eyes follow art and literature
in recognizing nature.
The history of art in the Southwest, if it is ever rightly
written, will not bother with the Italian "Holy Families"
imported by agent-guided millionaires trying to buy
exclusiveness. It will begin with clay (Indian pottery), horse
hair (vaquero weaving), hide (vaquero plaiting), and horn
(backwoods carving). It will note Navajo sand painting and
designs in blankets.
Charles M. Russell's art has been characterized in the chapter
on "Range Life." He had to paint, and the Old West was his
life. More versatile was his contemporary Frederic Remington,
author of _Pony Tracks, Crooked Trails_, and other books, and
prolific illustrator of Owen Wister, Theodore Roosevelt,
Alfred Henry Lewis, and numerous other writers of the West.
Not so well known as these two, but rising in estimation, was
Charles Schreyvogle. He did not write; his best-known pictures
are reproduced in a folio entitled _My Bunkie and Others_.
Remington, Russell, and Schreyvogle all did superb sculptoring
in bronze. One of the
finest pieces of sculpture in the Southwest is "The Seven
Mustangs" by A. Phimister Proctor, in front of the Texas
Memorial Museum at Austin.
Among contemporary artists, Ross Santee and Will James (died,
1942) have illustrated their own cow country books, some of
which are listed under "Range Life" and "Horses." William R.
Leigh, author of _The Western Pony_, is a significant painter
of the range. Edward Borein of Santa Barbara, California, has
in scores of etchings and a limited amount of book
illustrations "documented" many phases of western life. Buck
Dunton of Taos illustrated also. His lithographs and paintings
of wild animals, trappers, cowboys, and Indians seem secure.
I cannot name and evaluate modern artists of the Southwest.
They are many, and the excellence of numbers of them is
nationally recognized. Many articles have been written about
the artists who during this century have lived around Taos and
painted that region of the Southwest. Some of the better-known
names are Ernest L. Blumenschein, Oscar Berninghaus, Ward
Lockwood, B. J. O. Nordfeldt, Georgia O'Keeffe, Ila McAfee,
Barbara Latham Cook, Howard Cook. Artists thrive in Arizona,
Oklahoma, and Texas as well as in New Mexico. Tom Lea, of El
Paso, may be quitting painting and drawing to spend the
remainder of his life in writing. Perhaps he himself does not
know. Jerry Bywaters, who is at work on the history of art in
the Southwest, has about quit producing to direct the Dallas
Museum of Fine Arts. Alexandre Hogue gives his strength to
teaching art in Tulsa University. Exhibitions, not
commentators, are the revealers of art.
A few books, all expensive, reproduce the art of certain
depicters of the West and Southwest. _Etchings of the West_,
by Edward Borein, and _The West of Alfred Jacob Miller_ have
been noted in other chapters (consult Index). Other recent art
works are: _Peter Hurd: Portfolio of Landscapes and
Portraits_, University of New Mexico Press, Albuquerque, 1950;
_Gallery of Western Paintings_, edited by Raymond Carlson,
McGraw-Hill, New York, 1951 (unsatisfactory reproduction);
_Frederic Remington, Artist of the Old West_, by Harold
McCracken, Lippincott, Philadelphia, 1947 (biography and check
list with many reproductions); _Portrait of the Old West_, by
Harold McCracken, McGraw-Hill, New York, 1952 (samplings of
numerous artists).
In February, 1946, Robert Taft of the University of Kansas
began publishing in the _Kansas Historical Quarterly_
chapters, richly illustrated in black and white, in "The
Pictorial Record of the Old West." The book to be made from
these chapters will have a historical validity missing in most
picture books.
MAGAZINES
The leading literary magazine of the region is the _Southwest
Review_, published quarterly at Southern Methodist University,
Dallas. The _New Mexico Quarterly_, published by the
University of New Mexico at Albuquerque, the _Arizona
Quarterly_, published by the University of Arizona at Tucson
the _Colorado Quarterly_, published by the University of
Colorado at Boulder, and _Prairie Schooner_, University of
Nebraska Press, Lincoln, are excellent exponents of current
writing in the Southwest and West. All these magazines are
liberated from provincialism.
HISTORICAL SOCIETIES
Every state in the Southwest has a state historical
organization that publishes. The oldest and most productive of
these, outside of California, is the Texas State Historical
Association, with headquarters at Austin.
HISTORIES
A majority of the state histories of the Southwest have been
written with the hope of securing an adoption for school use.
It would require a blacksnake whip to make most juve-
niles, or adults either, read these productions, as devoid of
picturesqueness, life-blood, and intellectual content as so
many concrete slabs. No genuinely humanistic history of the
Southwest has ever been printed. There are good factual
histories--and a history not based on facts can't possibly be
good--but the lack of synthesis, of intelligent evaluations,
of imagination, of the seeing eye and portraying hand is too
evident. The stuff out of which history is woven--diaries,
personal narratives, county histories, chronicles of ranches
and trails, etc.--has been better done than history itself.
FOLKLORE
Considered scientifically, folklore belongs to science and not
to the humanities. When folk and fun are not scienced out of
it, it is song and story and in literature is mingled with
other ingredients of life and art, as exampled by the folklore
in _Hamlet_ and _A Midsummer Night's Dream_. In "Indian
Culture," "Spanish-Mexican Strains," "Backwoods Life and
Humor," "Cowboy Songs," "The Bad Man Tradition," "Bears,"
"Coyotes," "Negro Folk Songs and Tales," and other chapters of
this _Guide_ numerous books charged with folklore have been
listed.
The most active state society of its kind in America has been
the Texas Folklore Society, with headquarters at the
University of Texas, Austin. Volume XXIV of its Publications
appeared in 1951, and it has published and distributed other
books. Its Publications are now distributed by Southern
Methodist University Press in Dallas. J. Frank Dobie, with
constant help, was editor from 1922 to 1943, when he resigned.
Since 1943 Mody C. Boatright has been editor.
In 1947 the New Mexico Folklore Society began publishing
yearly the _New Mexico Folklore Record_. It is printed by the
University of New Mexico Press. The University of Arizona,
Tucson, has published several folklore bulletins. The
California Folklore Society publishes, through the University
of California Press, Berkeley, _Western Folklore_, a
quarterly.
In co-operation with the Southeastern Folklore Society, the
University of Florida, Gainesville, publishes the _Southern
Folklore Quarterly_. Levette J. Davidson of the University of
Denver, author of _A Guide to American Folklore_, University
of Denver Press, 1951, directs the Western Folklore
Conference. The _Journal of American Folklore_ has published a
good deal from the Southwest and Mexico. The Sociedad
Folklorica de Mexico publishes its own _Anurio_. Between 1929
and 1932, B. A. Botkin, editor of _A Treasury of Southern
Folklore_, 1949, and A _Treasury of Western Folklore_, 1951
(Crown, New York), brought out four volumes entitled _Folk-
Say_, University of Oklahoma Press. OP. The volumes are
significant for literary utilizations of folklore and
interpretations of folks.
MUSEUMS
Museums do not belong to the DAR. Their perspective on the
past is constructive. The growing museums in Santa Fe, Tucson,
Phoenix, Tulsa, Oklahoma City, Houston, San Antonio, Dallas,
Austin, Denver, and on west into California represent the art,
fauna, flora, geology, archeology, occupations,
transportation, architecture, and other phases of the
Southwest in a way that may be more informing than many
printed volumes.
_35_
Subjects for Themes
THE OBJECT OF THEME-WRITING is to make a student observe, to
become aware, to evaluate, to enrich himself. Any phase of
life or literature named or suggested in the foregoing
chapters could be taken as a subject for an essay. The most
immature essay must be more than a summary; a mere summary is
never an essay. The writer must synthesize, make his own
combination of thoughts, facts, incidents, characteristics,
anecdotes, interpretations, illustrations, according to his
own pattern. A writer is a weaver, weaving various threads of
various hues and textures into a design that is his own.
"Look into thy heart and write." "Write what you know about."
All this is good advice in a way--but students have to write
themes whether they have anything to write or not. The way to
get full of a subject, to generate a conveyable interest, is
to fill up on the subject. As clouds are but transient forms
of matter that "change but cannot die," so most writing, even
the best, is but a variation in form of experiences, ideas,
observations, emotions that have been recorded over and over.
In general, the materials a student weaves are derived from
three sources: what he has read, what he has heard, what he
has observed and experienced himself. If he chooses to sketch
an interesting character, he will make his sketch richer and
more interesting if he reads all he can find that illuminates
his subject's background. If he sets out to tell a legend or a
series of related folk tales or anecdotes, he will improve his
telling by reading what he can on the subjects that his
proposed narratives treat of and by reading similar
narratives already written by others. If he wishes to tell
what he knows about rattlesnakes, buzzards, pet coyotes,
Brahma cattle, prickly pear, cottonwoods, Caddo Lake, the
Brazos River, Santa Fe adobes, or other features of the land,
let him bolster and put into perspective his own knowledge by
reading what others have said on the matter. Knowledge fosters
originality. Reading gives ideas.
The list of subjects that follows is meant to be suggestive,
and must not be regarded as inclusive. The best subject for
any writer is one that he is interested in. A single name or
category may afford scores of subjects. For example, take Andy
Adams, the writer about cowboys and range life. His campfire
yarns, the attitude of his cowboys toward their horses, what
he has to say about cows, the metaphor of the range as he has
recorded it, the placidity of his cowboys as opposed to Zane
Grey sensationalism, etc., are a few of the subjects to be
derived from a study of his books. Or take a category like
"How the Early Settlers Lived." Pioneer food, transportation,
sociables, houses, neighborliness, loneliness, living on game
meat, etc., make subjects. Almost every subject listed below
will suggest either variations or associated subjects.
The Humor of the Southwest
Similes from Nature (Crockett is rich in them)
The Code of Individualism
The Code of the Range
Six-shooter Ethics
The Right to Kill
The Tradition of Cowboy Gallantry
(read Owen Wister's _The
Virginian_ and _A Journey in Search
of Christmas;_ also novels by
Eugene Manlove Rhodes)
Frontier Hospitality
Amusements (shooting matches,
tournaments, play parties, dances,
poker, horse races, quiltings,
house-raisings)
The Western Gambler (Bret Harte
and Alfred Henry Lewis have
idealized him in fiction; he might
be contrasted with the Mississippi
River gambler)
Indian Captives
The Age of Horse Culture (Spanish,
Indian, Anglo-American; the
horse was important enough to
any one of these classes to
warrant extended study)
The Cowboy's Horse
The Cowboy Myth (Mody Boat-
right is writing a book on the subject)
Evolution of the Frontier Criminal Lawyer
The Frontier Intellect in the Atomic Age
British Chroniclers of the West
Civilized Perspective in Writings on the Old West
The Indian in Fiction
Fictional Betrayal of the West
The West in Reality and the West on the Screen
Around the Chuck Wagon: Cowboy Yarns
Stretching the Blanket
Authentic Liars
Recent Fiction of the Southwest
(any writer worth writing about)
Literary Magazines of the Southwest
Ranch Women
Mexican Labor (on ranch, farm,
or in town)
Mexican Folk Tales
Backwoods Life in Frederick Gerstaecker
"The Old Catdeman" in Alfred
Henry Lewis' _Wolfville_ Books
Mayne Reid as an Exponent of the
Southwest (see estimate of him
in _Mesa, Canon and Pueblo_,
by Charles F. Lummis)
The Gunman in Fiction and Reality
(O. Henry, Bret Harte, Alfred
Henry Lewis; _The Saga of Billy
the Kid_, by Walter Noble Burns;
Gillett's _Six Years with the Texas
Rangers;_ Webb's _The Texas
Rangers;_ Lake's _Wyatt Earp)_
Character of the Trail Drivers
Cowboy's Life as Reflected in His Songs
"Wrathy to Kill a Bear" (the
frontiersman as a destroyer of wild life)
"I Thought I Might See Something to Shoot at"
Anecdotes of the Stump Speaker
Exempla of Revivalists and Campmeeting Preachers
The Campmeeting
Stagecoaching
Life on the Santa Fe Trail
The Rendezvous of the Mountain Men
In the Covered Wagon
Squatter Life
No Shade
From Grass to Wheat
From Wheat to Dust
Brush (a special study of prickly
pear, the mesquite, or some other
form of flora could be made)
Cotton (whole books are suggested
here, the tenant farmer being one
of the subjects)
Oil Booms
Longhorns
Coyote Stories
Deer Nature, or Whitetails and
Their Hunters
Rattlesnakes, or Rattlesnake Stories
Panther Stories
Tarantula Lore
Grasshopper Plagues
The Javelina in Fact and in Folk Tale
The Roadrunner (Paisano)
Wild Turkeys
The Poisoned-Out Prairie Dog
Sheep
Vanishing Sheep Herders
The Bee Hunter
Pot Hunters
Buffalo Hunters
The Bar Hunter and Bar Stories
Indian Fighter
Indian Hater
Scalps
Squaw Men
Mountain Men and Grizzlies
Scouts and Guides
Stage Drivers
Fiddlers and Fiddle Tunes
Frontier Justices of the Peace
(Roy Bean set the example)
Horse Traders
Horse Racers
Newspapermen
Frontier Schoolteacher
Circuit Rider
Pony Express Rider
Folk Tales of My Community
Flavorsome Characters of My Community
Stanley Vestal
Harvey Fergusson
Kansas Cow Towns
Drought and Thirst
Washington Irving on the West
Witty Repartee in Eugene Manlove Rhodes
Bigfoot Wallace's Humor
Charles M. Russell as Artist of the
West (or any other western artist)
Learning to See Life Around Me
Features of My Own Cultural
Inheritance
I Heard It Back Home
Family Traditions
My Family's Interesting Character
Doodlebugs in the Sand
Bobwhites
Blue Quail
Coachwhips and Other Good Snakes
Mockingbird Habits
Jack Rabbit Lore
Catfish Lore
Herb Remedies
"Criticism of Life" in Southwestern
Fiction
Intellectual Integrity in________________
(Name of writer or writers or
some locally prominent newspaper
to be supplied)
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