Monday, May 23, 2011
Sci Fi Short Story: That Distant Eden
The passengers and crew of the generational ship Thoreau are finally nearing the end of their centuries-long journey to colonize the uninhabited Gordon's Planet. It will be a new beginning, an opportunity to avoid the mistakes of their ancestors who ravaged Earth.
There's only one problem. Gordon's Planet isn't uninhabited after all. And its indigenous people do not wish to be colonized...
Available now as an ebook... only 99 cents.
http://www.smashwords.com/books/view/61912
http://www.amazon.com/That-Distant-Eden-ebook/dp/B00528ILAQ/ref=sr_1_1?ie=UTF8&m=AG56TWVU5XWC2&s=books&qid=1306202706&sr=8-1
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Champ Ferguson, Confederate Guerrilla
Here is a link to an article I wrote a few years ago, in Civil War Times Illustrated, about the famous (and infamous) guerrilla who operated out of my hometown of Sparta, Tennessee. Note that there is a typo in the very first sentence (that has always driven me crazy): it should say 40-year-old, not 20-year-old. I later wrote a novel about Ferguson, Good Rebel Soil, which is due to be re-released soon by Western Trailblazer.
NOTE: the book is now available as an ebook, at this location .
http://www.historynet.com/champ-ferguson-an-american-civil-war-rebel-guerrilla.htm
NOTE: the book is now available as an ebook, at this location .
http://www.historynet.com/champ-ferguson-an-american-civil-war-rebel-guerrilla.htm
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Sunday, May 22, 2011
Idylls in Darkness: Selected Poems by Troy D. Smith
http://www.amazon.com/dp/B00522IVI4
http://www.smashwords.com/books/view/62144
Available now at Smashwords.com and for the Kindle at amazon.com
A selection of poems by the award-winning novelist Troy D. Smith. Although primarily known for his historical fiction and mysteries, Smith has been publishing poetry since 1986. The words which acclaimed author Frank Roderus used to describe Smith's fiction apply equally to his verse:
"Troy Smith has a rare and wonderful gift. His words do more than take you to another time, more than allow you to live another person's life... they also open that person's heart and allow you to feel its beat."
http://www.smashwords.com/books/view/62144
Available now at Smashwords.com and for the Kindle at amazon.com
A selection of poems by the award-winning novelist Troy D. Smith. Although primarily known for his historical fiction and mysteries, Smith has been publishing poetry since 1986. The words which acclaimed author Frank Roderus used to describe Smith's fiction apply equally to his verse:
"Troy Smith has a rare and wonderful gift. His words do more than take you to another time, more than allow you to live another person's life... they also open that person's heart and allow you to feel its beat."
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Monday, May 16, 2011
History, Memory, and the American Civil War
For example, growing up in Tennessee in the 1970s affixed a very specific image of the Civil War in my mind. My home town movie theater had annual showings of Gone with the Wind every spring until Ted Turner bought the rights to it. One of my earliest memories is of wearing a little gray Confederate kepi. I heard stories about the heroism of Champ Ferguson, my hometown’s famous (and infamous) Confederate guerrilla, and the town was overshadowed by the huge memorial stone on the hillside grave of local brigadier general (and later politician) George Dibrell. Male relatives sat and discussed the War of Northern Aggression, and the words damnyankee and carpetbagger were bandied about frequently.
If I had been born a decade earlier, and spent my formative years during the height of the Civil War centennial, no doubt it would have made an even stronger impact on me. If I had been born black, or born white in Illinois instead of Tennessee, I would also have absorbed a very different perspective. That all makes sense—and at the same time, it seems to make no sense at all. We are talking about the same events, after all. What happened, happened. History is, well, history, right? How can people still be arguing about it 150 years later?
That brings me to the crux of what I wanted to discuss in this space: the difference between history and memory, and how it impacts the U.S. Civil War. That means I am going to spend some time defining terms, and explaining just what “history” and “memory” really are. You may be tempted to skip over this section and go straight to the fun Civil War part, but I urge you to bear with me. History and memory are words we all know, you see, but which few of us ever really understand as well as we think we do.
What is history? Easy enough, you say. History means stuff that happened in the past. But if that were the case, there would be no such thing as “prehistory,” would there? Lots of stuff happened in prehistoric times—but we know relatively little about it. There were events, but there was no history—because history is not “the past”, it is a written record of the past. Someone asked me once why, if I wanted to study the history of a certain indigenous tribe, did I not live among them and extensively study their material culture and oral tradition? Because that would make me an anthropologist. Historians look at documents and archives. Like the winter records painted in pictographs on a tribe’s tipis, for example. (Actually, an ethnohistorian takes an approach that blends history and anthropology in many ways, and that is the method I personally think works best in such circumstances—but for the sake of our discussion I wanted to demonstrate clearly the difference between history and anthropology.)
When Mesopotamians and Egyptians starting scratching images into clay—initially as a way for merchants to keep records—and Chinese inscribed divination records on bones and shells, that was the beginning of those cultures’ history. Historians look at those things, and at court records, diaries, news accounts, receipts, ships’ logs, and anything else that is written down to inform them about the era in question. And, of course, they look at narrative histories that were written after the fact—whether that be the records of Herodotus, Thucydides, and Xenophon, or of Plutarch and Flavius Josephus, Edward Gibbon, or the Shiji of Sima Qian. No matter the source, historians are trained to weigh the context of the times when examining it, and to look at circumstantial written evidence (court records, receipts, etc.) as well.
It is said that history is written by the victors, and that is certainly true. Having the ability to write the “official” history of anything is a form of power, and those after-the-fact histories (as stated in my opening) reflect political realities beyond the event described. For example: generally speaking, whenever a new dynasty took power in China they re-wrote the history of their predecessors to make it seem that the former dynasty’s final years were marked by moral decline and heaven decreed that a change was needed. If you happened to be an average Chinese person of the time, and one of these new histories were released, you might well remember that things were not quite that way during the previous administration (although you might not want to vocalize that opinion too loudly.) Your children and grandchildren, however, would have no such memories and as far as they knew the official line was true—and over time, reality as you lived it would be forgotten. Unless, of course, you made a point of telling your children “Listen, we know the official story, but here is how things really were.” In that case, it is possible that a picture of your time might live on as part of an oral tradition, unanchored to any documentary evidence. A century after your death, the “reality” of your time would either be forgotten completely or endure as a dim legend whose origins have been forgotten (I often wonder whether the tales of Greek demigods or biblical stories of the demonic, giant Nephilim might be cultural memories of prehistoric conflicts between humans and Neanderthals.)
This is not something confined to ancient China. I can think of a very good example in U.S. history—the conflict known for almost a century as the Philippine Insurrection (it is now sometimes called the Philippine-American War, which I think is more accurate.) How familiar are you with this conflict? Odds are, if you are American, not very. I am a lifelong history lover, and I had never even heard of it until college. It was never mentioned in my public school history books. If you aren’t familiar with it, find out some details here: http://en.wikipedia.org/wiki/Philippine_insurrection
This was a pretty significant series of events. U.S. citizens were well aware of what was going on: Mark Twain led protests against the action, and congressional hearings were held. However- it was not in the “history books,” at least not the ones you read in school, until the 1990s. And unless you are what they call a “history buff,” and a pretty serious one, you may not even have known that this very controversial, and once widely-known, thing happened. For several generations –for all intents and purposes –it never did. It disappeared from American cultural memory. (This particular case’s disappearance had a lot to do with the Cold War –the U.S. was competing with the Soviet Union for the “hearts and minds” of other countries, and it was very convenient for such embarrassing truths as the Philippine episode to disappear. I think it is no accident that it was covered in high school history books again –although never in much detail –after the fall of the Soviet Union.)
Another example: before the 1989 movie Glory, how many of us knew that there was a huge number of black Union troops in the Civil War? My school history books mentioned it barely if at all. In fact, there were over 200,000 such troops, and they may have helped turn the tide of the war. Everyone knows that now. Did everyone know that in 1975?
While some things disappear, others are significantly altered- retconned, as comics fans put it. Retroactive continuity: when something new is inserted into a character’s “past” and everyone agrees to pretend it had always been there- and new readers usually never know it hadn’t. In that example, the only way new readers would know about the original continuity would be if they went back and read those earlier issues from years before –becoming, in essence, historians combing an archive.
This works with memory on an individual level as well. For example: do you think you would get the same stories if you read a newspaper interview with a particular sailor that was conducted late in the afternoon of the Pearl Harbor attack as you would get from interviewing that same sailor yourself 70 years later? Possibly, but probably not. The intervening years would have a bearing on the sailor’s recall. In fact, interviewers often find that their subjects will interject information into their own memories which they learned later but could not possibly have known at the time. Memories are not stored whole in your mind; every time you access the memory of an event, different parts of your brain chime in with aspects of that memory that are stored in them. Images, sounds, smells –all these must be instantly recalled and woven together in order to reconstruct a complete memory. I picture this process in my own mind by thinking about Francis Ford Coppola’s approach to editing Apocalypse Now: Redux. The first version of the classic war film, presented at Cannes, ran much longer than the version later released in theaters. The “Redux” version replaces many deleted scenes, which greatly affect the overall narrative. However, Coppola didn’t just add the deleted scenes in, nor use the original Cannes version- he re-edited the whole movie, scene by scene, so that the final version was not exactly the same as any of the previous ones. In a way, that is what happens when we access a memory; it is reconstructed from scratch each time, and therefore often changes from one recall to the next. Cultural memory can be even trickier, because the changes which are inserted frequently are done so intentionally by agents who wish to control the general public’s memory of a certain event.
What does this have to do with the Civil War, you ask? A lot, I answer. The next section will go into great detail about how the tensions between history and memory affect the present-day public perception of that war and its meanings.
Let me start by saying that the vast majority of professional historians—virtually all of them, in fact—say that slavery was the cause of the Civil War. I am a professional historian, in addition to being a novelist. I used to believe in the “Lost Cause” ideology of the war, until several years ago, and in fact there are echoes of that belief in some of my earliest fiction—but now I will tell you, with no trace of doubt, that slavery was the prime reason for the Civil War. I will explain why I say that, and how I came to change my mind. Many of you reading this will have already decided that you do not agree with me—but read on. First, because historians like to quote each other, let me give you a few examples of historians’ conclusions before I explain my own.
James McPherson of Princeton, Pulitzer winning author of the classic Battle Cry of Freedom: “Everything stems from the slavery issue.”
David Blight of Yale, author of Race and Reunion: “No matter what we do or the overwhelming consensus among historians, out in the public mind, there is still this need to deny that slavery was the cause of the war.”
Vernon Burton of Clemson, author of The Age of Lincoln: “Everyone knew at the time that the war was ultimately about slavery. After the war, some began saying that it was really about states’ rights, or a clash of two different cultures, or about the tariff, or about the industrializing North versus the agrarian South. All these interpretations came together to portray the Civil War as a collision of two noble civilizations from which black slaves had been airbrushed out.”
Bruce Levine of the University of Illinois, author of Confederate Emancipation: “Because they were fighting to preserve African American slavery and the racial creed that justified it.”
Sociologist James Loewen of The Catholic University of America, author of Lies My Teacher Told Me and co-editor of The Confederate and Neo-Confederate Reader: The Great Truth About the Lost Cause: “Confederate states did claim the right to secede, but no state claimed to be seceding for that right. In fact, Confederates opposed states’ rights — that is, the right of Northern states not to support slavery… Slavery, not states’ rights, birthed the Civil War.”
I could go on and on, but you get the picture.
The fact is, there was a lot of dissent within the Confederate States of America. Of the eleven states which comprised the Confederacy, all except South Carolina produced volunteer military units for the Union, some of them contributing a large number of troops to the North. (There was some pro-Confederacy feeling in various Northern states, but there were no all-Northern Confederate regiments.) The areas of the South which were the most pro-Union are very telling: East Tennessee, Western North Carolina, West Virginia, and Northern Georgia. Look at those regions on the map below—what do you notice about them? They comprise the Southern Appalachian mountains. You see, the Southern region which had the fewest slaves, because its rocky soil would not support plantations, was also the one region that overwhelmingly opposed the Confederacy. West Virginia seceded from the Confederacy and became a separate state in the Union; East Tennessee came very close to doing the same thing. Yet when you drive through East Tennessee today—including the Knoxville-area town named for its most famous citizen, Union Admiral David Farragut—you will notice a sea of Rebel flags. Memory is stronger than history in the Southern mind, it would seem.
I would argue that this lack of cohesion in the South (which manifested itself in other ways as well) was a large factor in the Confederacy’s defeat. I would also argue that there was a lot more Confederate nationalism after there was no longer a Confederate nation, as evidenced by the aforementioned Rebel sentiment in places that were actually pro-Union. After the war, the “Lost Cause ideology” took hold in the South (and the rest of the country.) In this worldview, the antebellum South was a romanticized place which its people fought nobly to defend, but which was doomed solely because of the North’s overwhelming military superiority (let me point out that in the American Revolution, the Texas War of Independence, and the Vietnam conflict, the losing side had overwhelming military superiority, yet this fact alone did not determine the outcomes of those conflicts.) Sure, there was such a thing as slavery, but it was not a major consideration. In some ways this worldview made the healing easier for the losers. We lost, but we lost nobly; and our cause was just, after all. It’s kind of embarrassing to say one’s great-great-grandfather died in a conflict that was mostly about keeping an oppressed people in chains.
This view has actually gained a lot more ground in the last decade or so. It is amazing that it took so long for anyone to catch the errors in that Virginia public school textbook a few months ago, the one which claimed that upwards of 100,000 blacks fought in the Confederate Army (half as many as in the Union!) That’s not true, of course. If there were any African Americans at all taking arms on behalf of the Confederacy they were a rare anomaly (See the various links at the end of this essay.) It turns out that the textbook author, a freelance writer rather than a trained historian, had gotten her information off the internet (specifically, from the Sons of Confederate Veterans website.) As I said earlier, when I was younger I held the same beliefs—growing up in the South, one sort of absorbs them by osmosis. In college I learned that historians almost all present an opposite view, but that was not completely enough to make me re-examine what I thought I knew. It was actually when I reached graduate school that the last traces of Lost-Cause-Disorder were cleansed from my mind, and it was not due to historians or textbooks; it was due to my own research, and what I found in the archives. Embarrassed descendants of the original Confederates may say the Civil War was not about slavery—and Confederate veterans, after the fact, might have said the same thing—but when the war was starting, Confederates and Federals alike knew what was causing it. Examples:
“Our position is thoroughly identified with the institution of slavery — the greatest material interest of the world. Its labor supplies the product which constitutes by far the largest and most important portions of the commerce of the earth. . . . A blow at slavery is a blow at commerce and civilization.” - Mississippi secession declaration, passed Jan. 9, 1861.
"One section of our country believes slavery is right and ought to be extended, while the other believes it is wrong and ought not to be extended. This is the only substantial dispute." –Abraham Lincoln, First Inaugural Address.
And then there is this, from Confederate Vice-President Alexander Stephens in a speech delivered in Savannah, Georgia, on March 21, 1861:
"Our new government is founded upon exactly the opposite idea; its foundations are laid, its corner- stone rests, upon the great truth that the negro is not equal to the white man; that slavery subordination to the superior race is his natural and normal condition. This, our new government, is the first, in the history of the world, based upon this great physical, philosophical, and moral truth. This truth has been slow in the process of its development, like all other truths in the various departments of science. It has been so even amongst us. Many who hear me, perhaps, can recollect well, that this truth was not generally admitted, even within their day. The errors of the past generation still clung to many as late as twenty years ago. Those at the North, who still cling to these errors, with a zeal above knowledge, we justly denominate fanatics. All fanaticism springs from an aberration of the mind from a defect in reasoning. It is a species of insanity. One of the most striking characteristics of insanity, in many instances, is forming correct conclusions from fancied or erroneous premises; so with the anti-slavery fanatics. Their conclusions are right if their premises were. They assume that the negro is equal, and hence conclude that he is entitled to equal privileges and rights with the white man. If their premises were correct, their conclusions would be logical and just but their premise being wrong, their whole argument fails. I recollect once of having heard a gentleman from one of the northern States, of great power and ability, announce in the House of Representatives, with imposing effect, that we of the South would be compelled, ultimately, to yield upon this subject of slavery, that it was as impossible to war successfully against a principle in politics, as it was in physics or mechanics. That the principle would ultimately prevail. That we, in maintaining slavery as it exists with us, were warring against a principle, a principle founded in nature, the principle of the equality of men. The reply I made to him was, that upon his own grounds, we should, ultimately, succeed, and that he and his associates, in this crusade against our institutions, would ultimately fail. The truth announced, that it was as impossible to war successfully against a principle in politics as it was in physics and mechanics, I admitted; but told him that it was he, and those acting with him, who were warring against a principle. They were attempting to make things equal which the Creator had made unequal.
"In the conflict thus far, success has been on our side, complete throughout the length and breadth of the Confederate States. It is upon this, as I have stated, our social fabric is firmly planted; and I cannot permit myself to doubt the ultimate success of a full recognition of this principle throughout the civilized and enlightened world.
"As I have stated, the truth of this principle may be slow in development, as all truths are and ever have been, in the various branches of science. It was so with the principles announced by Galileo it was so with Adam Smith and his principles of political economy. It was so with Harvey, and his theory of the circulation of the blood. It is stated that not a single one of the medical profession, living at the time of the announcement of the truths made by him, admitted them. Now, they are universally acknowledged. May we not, therefore, look with confidence to the ultimate universal acknowledgment of the truths upon which our system rests? It is the first government ever instituted upon the principles in strict conformity to nature, and the ordination of Providence, in furnishing the materials of human society. Many governments have been founded upon the principle of the subordination and serfdom of certain classes of the same race; such were and are in violation of the laws of nature. Our system commits no such violation of nature's laws. With us, all of the white race, however high or low, rich or poor, are equal in the eye of the law. Not so with the negro. Subordination is his place. He, by nature, or by the curse against Canaan, is fitted for that condition which he occupies in our system. The architect, in the construction of buildings, lays the foundation with the proper material-the granite; then comes the brick or the marble. The substratum of our society is made of the material fitted by nature for it, and by experience we know that it is best, not only for the superior, but for the inferior race, that it should be so. It is, indeed, in conformity with the ordinance of the Creator. It is not for us to inquire into the wisdom of His ordinances, or to question them. For His own purposes, He has made one race to differ from another, as He has made "one star to differ from another star in glory." The great objects of humanity are best attained when there is conformity to His laws and decrees, in the formation of governments as well as in all things else. Our confederacy is founded upon principles in strict conformity with these laws. This stone which was rejected by the first builders "is become the chief of the corner" the real "corner-stone" in our new edifice. I have been asked, what of the future? It has been apprehended by some that we would have arrayed against us the civilized world. I care not who or how many they may be against us, when we stand upon the eternal principles of truth, if we are true to ourselves and the principles for which we contend, we are obliged to, and must triumph.”
It is difficult to read that speech and still argue that the Civil War was not about slavery. What really got to me, personally, though, was reading contemporary newspaper accounts from my own home region and discovering prominent citizens (like Judge Sam Gardenhire, one of the biggest slaveholders in the Upper Cumberland region of Tennessee) making the very same arguments as Stephens. The Confederate VP was not some firebrand saying things that no one in his audience agreed with—quite the opposite.
The documents verify what professional historians will tell you. Slavery caused the Civil War.
But what does it really matter, you might ask. If more and more people become convinced that the Civil War was not about slavery, the public perception will eventually be that slavery was really not so bad. The principles which propelled the abolition of slavery, and the lived experience of all those who suffered it, will be disregarded. What is to stop people from then saying that the folks who opposed Desegregation were not really racists, they were just trying to protect states’ rights? What is to prevent some from saying, and convincing the public, that most African Americans were really on the side of the segregationists, and many of them fought alongside the local Jim Crow authorities against all those Northern interlopers and communists who were saying “Freedom Now”? It’s the same thing—and it would imply that segregation was not that bad, and that the social changes which were made in the Civil Rights Era were not really necessary or important. Why, it was all about the federal government trying to enforce its agenda on state governments and local businesses (thanks to Rand Paul, this example is not completely hypothetical.)
This is serious business. It really matters. So think about this: if it really bothers you that someone says a war fought 150 years ago was about slavery—why? What is your investment? Because if you are a historian, your investment is in the truth.
READ MORE:
“150 Years after Fort Sumter: Why We’re Still Fighting the Civil War” by David Von Drehle
http://www.time.com/time/nation/article/0,8599,2063679,00.html#ixzz1MY3fdLeR
“Fort Sumter: The Civil War Begins” by Fergus M. Bordewich
http://www.smithsonianmag.com/history-archaeology/Fort-Sumter-The-Civil-War-Begins.html
“The Myth of the Black Confederate” by Bruce Levine
http://voices.washingtonpost.com/local-opinions/2010/10/the_myth_of_the_black_confeder.html
“A Union Divided: South Split on U.S. Civil War Legacy” by Claire Suddath
http://www.time.com/time/nation/article/0,8599,2055981,00.html
“Five Myths About Why the South Seceded” by James Loewen
http://www.washingtonpost.com/outlook/five-myths-about-why-the-south-seceded/2011/01/03/ABHr6jD_story.html
Alexander Stephens’ “Cornerstone” speech, in full:
http://teachingamericanhistory.org/library/index.asp?documentprint=76
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Sunday, May 1, 2011
Having a Smoke with Julian Bond
The recent classroom lectures I gave about the Civil Rights era reminded me of one of my favorite moments since I started grad school: the day in 2006 when I met Julian Bond -Civil Rights leader, co-founder of both the Student Nonviolent Coordinating Committee and the Southern Poverty Law Center, and long-time chairman of the NAACP. He was at the University of Illinois to get an honorary doctorate (not that he needed one, he is a professor in the history department of the University of Virginia.) I accompanied my professor Vernon Burton in driving Bond to the airport (after a large get-together at the Custard Cup)... and had a cigarette break with him outside the airport before his flight left. That's when this picture was taken- a very cool moment for yours truly.
And here is a 1960s photo of Bond:
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Thursday, April 28, 2011
WARLOCK: A Neglected Western Classic
Lately I have been posting several articles I wrote in the late 1990s. This week I am sharing a piece about the 1959 Edward Dmytryk Western Warlock. If you haven’t seen the movie, be warned: I include many plot details.

WARLOCK: A Neglected Western Classic
Imagine a movie with an intricate plot, driven not so much by events as by the tangled relationships between several well-drawn characters. It is a movie with obvious homoerotic undertones and some surprisingly intense violence. To further stretch your imagination, envision it as a film made in 1959 –and a Western, at that.

The film in question is Warlock. Based on a novel by Oakley Hall, it is one of the best examples of that post-war golden time –between the late 1940s and the mid-1960s –when Westerns became an arena of serious adult story-telling. The gunfights and brawls were still there, but a new element was added –the characters were real people, with weaknesses and emotions. The seeds planted by John Ford in Stagecoach grew and flourished.
The rough-and-ready cowboys of the San Pablo spread are terrorizing the frontier town of Warlock, Utah –chasing out the amateurish lawmen, boozing it up in the streets, even shooting a barber for having an unsteady hand. Only a few of the cowboys seem to have any redeeming qualities: the shy Johnny Bannon (Richard Widmark); his younger brother Billy, who idolizes the group’s vicious leader Abe McQuown (Tom Drake); and Curly –portrayed by scene-stealer DeForest Kelly (better known as Star Trek’s “Bones McCoy”) as a good-natured clown.

The city fathers decide they have had enough. Unwilling to face down the rowdies themselves, they decide to hire a famous gunman to serve as town marshal. Warlock’s moralizing, unofficial judge objects but is overruled (one is reminded of Judge Roy Bean’s words in Larry McMurtry’s Streets of Laredo: “Out here, if you want to be a judge bad enough you are one.)
Enter Clay Blaisedell (Henry Fonda.) The character is a blend of historical lawmen Wyatt Earp and Wild Bill Hickock –a former Union officer who tames one town after another, setting up gambling establishments on the side. His partner is Tom Morgan (Anthony Quinn), a gambler and gunfighter in his own right (read: Doc Holliday.) Instead of tuberculosis, Morgan has a crippled leg.


Blaisedell warns the council what to expect from him. Once he has cleaned out the threat the townspeople will begin to resent his authority and even to fear him –at which time he will move on, both parties having been satisfied. At this point we are introduced to the obligatory “good woman,” Miss Jessie (Dolores Michaels), who disapproves of the big, bad gunfighter yet is obviously destined to tumble for him. While her character is probably the weakest part of the movie, her presence is necessary to define Blaisedell, especially near the end.

The bond between old friends Blaisedell and Morgan is the central relationship of Warlock. Morgan, the crippled gambler, lives his life vicariously through Blaisedell, pushing him toward ever greater glory –like a dapper male version of Lady MacBeth. Indeed, the two act like an old married couple. Morgan decorates their new quarters with drapes from San Francisco, and desperately looks for a word of approval from his partner. He ignores the advances of his own saloon-girls –his only interest is protecting Blaisedell, guarding the marshal’s back at all times.
Blaisedell runs the cowboys out of Warlock, warning them that if they cross him once more they will be banned from the town permanently. Bannon leaves the gang –he had kept one hothead from back-shooting the marshal –and remains in Warlock.

Morgan later receives word that “she” is coming into town on the next stage. “She” turns out to be Lilly (Dorothy Malone), Morgan’s old flame. Lilly is traveling with her late fiancé’s brother; Blaisedell had killed the fiancé in self-defense, never guessing that Morgan had secretly arranged the fight with such an outcome in mind. The man’s brother was now seeking revenge against Blaisedell, which would also bring Lilly her vengeance –she wants to hurt Morgan by destroying the one person he loves.
Morgan hides on a ridge to meet the stage, only to find that it is being robbed by two of the San Pablo boys. Young Billy is one of them. Morgan kills Lilly’s companion, shooting from the ridge, letting the cowboys get the blame.
The cowboys are arrested and sent to the county seat for trial –Blaisedell saves them from a lynch mob –and are acquitted due to lack of evidence. Blaisedell still “posts” them from the town of Warlock, on pain of death. Bannon has meanwhile accepted the job of deputy county sheriff. This thrills the old judge, who wants only “official” law.
The three posted outlaws return to town to protest the unfairness of their banishment –and to have it out with Blaisedell and Morgan. Blaisedell allows Bannon to talk to his old friends. The deputy implores both sides to back away, but to no avail –a gunfight erupts. Bannon’s role if reminiscent of county sheriff Johnny Behan’s role in the O.K. Corral shoot-out; caught between gunmen-turned-lawmen and a group of violent but popular cowboys, he can only watch the inevitable outcome. This further blending of fact and fiction helps establish Warlock as the mythic Western everytown.

The three cowboys –including Bannon’s nineteen-year-old brother –are killed. A fourth dies as well; he had attacked the lawmen from concealment, sent by McQuown. The gun battle does not end the conflict; just like in Warlock’s historical counterpart Tombstone, the surviving cowboys declare war on the city lawmen. Bannon warns Blaisedell not to get involved any further. As a duly-sworn deputy, it is Bannon’s responsibility to keep the peace, not the gunfighters’.
Bannon visits the San Pablo ranch to warn the McQuown that he must not come to Warlock the next day as he had publicly announced he would. McQuown stabs Bannon’s hand, pinning it to the table and threatening to rip it off unless the deputy swears that the cowboys’ version of the conflict is the true one. Only Curly’s intervention allows Bannon to escape alive.

Blaisedell proclaims his intention to retire from the peace-keeping business –he is going to marry Jessie and settle down. He offers his help to Bannon –the outlaws are still on their way –but the injured deputy refuses politely.

Tom Morgan is outraged by the recent events. His greatest anger is directed toward his rival for Blaisedell’s attention –he makes several callous remarks to Jessie, pointing out that Blaisedell could be killed at any time. Morgan is also very upset at Lilly –she has told Blaisedell about Morgan’s role in the death of her fiancé and his brother.

Morgan entreats his old friend not to intervene in the coming battle. He wants Blaisedell safe, and also wants to ensure that Bannon is killed. Then the townspeople would turn once more to Blaisedell to save them. “You can’t let him be the hero,” Morgan says. “If you ain’t the marshal, you’re nothin’!” He holds Blaisedell in their shared hotel rooms by gunpoint until the fight is over. Morgan informs Blaisedell that he is responsible for the gunfighter’s success –always watching his back, arranging his jobs, letting him have all the glory even though Morgan is the better gun. Everything he did was for Blaisedell; as Morgan had told Lilly earlier, “He’s the only person, man or woman, who ever looked at me and didn’t see a cripple.”

The two gamblers/gunfighters watch the fight through the hotel room window, and are surprised. Bannon wins. The deputy kills McQuown and his most vicious sidekick; the others are subdued with the help of Curly and several local citizens who have been inspired by the quiet young deputy to finally take their own stand.
By nightfall Morgan is drunk. The gambler shoots up the town, daring the “big, brave deputy” to come out. Blaisedell locks Bannon up in his own jail –he knows the deputy would stand no chance against Morgan.
Blaisedell faces his friend and warns him to settle down or Blaisedell will be forced to hurt him.

“Then I win,” Morgan says happily. “You’ll be the hero again!” Morgan smiles at the prospect of everything returning to its former status. He draws on his partner, firing first but intentionally missing –lending credence to his claim of being better than Blaisedell –and Blaisedell shoots him.
Anguished, Blaisedell picks up his friend’s body and carries it back to their saloon. A storm has begun –he lays Morgan on the faro table and stands vigil over it to the crackling sound of the lightning. The self-righteous judge is there; Blaisedell kicks the old man’s crutch from under him. “Crawl past him,” he says, pointing to Morgan. “He was a man.” Blaisedell burns the saloon down around Morgan’s corpse.

Bannon informs Blaisedell that he will have to arrest him on the next morning, thus giving him a chance to leave town before then. Blaisedell tells Jessie that he could not remain in Warlock, anyhow –he would have to become a storekeeper or a farmer if he did. Jessie does not understand; those were his plans only the day before, after all.
But something very important had happened since then. Morgan had indeed won. By his death, the gambler had ended Blaisedell’s idyllic plans and returned him to the life of the celebrated gunman –a life which Morgan’s lame leg and crippled self-esteem had caused him to deny himself. Clay Blaisedell rides away from Warlock, looking for a new town to tame. The viewer is left to wonder whether he can survive without his alter ego.

Tom Morgan was one of Anthony Quinn’s best roles, and one of the most complex characters to ever stride down a dusty Western street. He is sophisticated yet tough, and insanely jealous where his friend is concerned. The film’s title, Warlock, obviously comes from the town’s name; it could also apply to Clay Blaisedell, who performs dark magic with his guns, or to the story’s catalyst, Morgan, a male “witch.”
It is a mystery to me that Warlock is not more widely-known, or more fondly remembered. At certain points –especially the scene where Henry Fonda, his face lit by lightning, regards the body of the beloved partner he slew –the film achieves the quality of a classic tragedy. Perhaps the casual Western viewer likes his heroes to wear white hats, or his anti-heroes to wear black ones, and is left uncomfortable by these ambiguous figures whose very relationship is unclear –especially when that relationship is very homoerotic, as this one unquestionably is. Maybe the marshal should just stick to his job of killing the bad guys, and not let things get cluttered up by feelings and desires and the like.
I for one do not believe that to be the case. If it is, it should not be –the Western, as restrictive as the genre might seem at first glance, has the potential to be one of the most interesting story-telling avenues a writer can use. Think of Lonesome Dove or Unforgiven. The viewer who likes the Western for its action and intensity –and also the viewer who believes that the Western goes no deeper than those qualities –would both be pleasantly surprised by a visit back to the “psychological Westerns” of the 1950s. In the town of Warlock, all the hats are gray.

http://www.amazon.com/Riding-Sundown-Troy-D-Smith/dp/1456520520/ref=sr_1_1?ie=UTF8&s=books&qid=1309000917&sr=1-1
Imagine a movie with an intricate plot, driven not so much by events as by the tangled relationships between several well-drawn characters. It is a movie with obvious homoerotic undertones and some surprisingly intense violence. To further stretch your imagination, envision it as a film made in 1959 –and a Western, at that.
The film in question is Warlock. Based on a novel by Oakley Hall, it is one of the best examples of that post-war golden time –between the late 1940s and the mid-1960s –when Westerns became an arena of serious adult story-telling. The gunfights and brawls were still there, but a new element was added –the characters were real people, with weaknesses and emotions. The seeds planted by John Ford in Stagecoach grew and flourished.
The rough-and-ready cowboys of the San Pablo spread are terrorizing the frontier town of Warlock, Utah –chasing out the amateurish lawmen, boozing it up in the streets, even shooting a barber for having an unsteady hand. Only a few of the cowboys seem to have any redeeming qualities: the shy Johnny Bannon (Richard Widmark); his younger brother Billy, who idolizes the group’s vicious leader Abe McQuown (Tom Drake); and Curly –portrayed by scene-stealer DeForest Kelly (better known as Star Trek’s “Bones McCoy”) as a good-natured clown.
The city fathers decide they have had enough. Unwilling to face down the rowdies themselves, they decide to hire a famous gunman to serve as town marshal. Warlock’s moralizing, unofficial judge objects but is overruled (one is reminded of Judge Roy Bean’s words in Larry McMurtry’s Streets of Laredo: “Out here, if you want to be a judge bad enough you are one.)
Enter Clay Blaisedell (Henry Fonda.) The character is a blend of historical lawmen Wyatt Earp and Wild Bill Hickock –a former Union officer who tames one town after another, setting up gambling establishments on the side. His partner is Tom Morgan (Anthony Quinn), a gambler and gunfighter in his own right (read: Doc Holliday.) Instead of tuberculosis, Morgan has a crippled leg.
Blaisedell warns the council what to expect from him. Once he has cleaned out the threat the townspeople will begin to resent his authority and even to fear him –at which time he will move on, both parties having been satisfied. At this point we are introduced to the obligatory “good woman,” Miss Jessie (Dolores Michaels), who disapproves of the big, bad gunfighter yet is obviously destined to tumble for him. While her character is probably the weakest part of the movie, her presence is necessary to define Blaisedell, especially near the end.
The bond between old friends Blaisedell and Morgan is the central relationship of Warlock. Morgan, the crippled gambler, lives his life vicariously through Blaisedell, pushing him toward ever greater glory –like a dapper male version of Lady MacBeth. Indeed, the two act like an old married couple. Morgan decorates their new quarters with drapes from San Francisco, and desperately looks for a word of approval from his partner. He ignores the advances of his own saloon-girls –his only interest is protecting Blaisedell, guarding the marshal’s back at all times.
Blaisedell runs the cowboys out of Warlock, warning them that if they cross him once more they will be banned from the town permanently. Bannon leaves the gang –he had kept one hothead from back-shooting the marshal –and remains in Warlock.
Morgan later receives word that “she” is coming into town on the next stage. “She” turns out to be Lilly (Dorothy Malone), Morgan’s old flame. Lilly is traveling with her late fiancé’s brother; Blaisedell had killed the fiancé in self-defense, never guessing that Morgan had secretly arranged the fight with such an outcome in mind. The man’s brother was now seeking revenge against Blaisedell, which would also bring Lilly her vengeance –she wants to hurt Morgan by destroying the one person he loves.
Morgan hides on a ridge to meet the stage, only to find that it is being robbed by two of the San Pablo boys. Young Billy is one of them. Morgan kills Lilly’s companion, shooting from the ridge, letting the cowboys get the blame.
The cowboys are arrested and sent to the county seat for trial –Blaisedell saves them from a lynch mob –and are acquitted due to lack of evidence. Blaisedell still “posts” them from the town of Warlock, on pain of death. Bannon has meanwhile accepted the job of deputy county sheriff. This thrills the old judge, who wants only “official” law.
The three posted outlaws return to town to protest the unfairness of their banishment –and to have it out with Blaisedell and Morgan. Blaisedell allows Bannon to talk to his old friends. The deputy implores both sides to back away, but to no avail –a gunfight erupts. Bannon’s role if reminiscent of county sheriff Johnny Behan’s role in the O.K. Corral shoot-out; caught between gunmen-turned-lawmen and a group of violent but popular cowboys, he can only watch the inevitable outcome. This further blending of fact and fiction helps establish Warlock as the mythic Western everytown.
The three cowboys –including Bannon’s nineteen-year-old brother –are killed. A fourth dies as well; he had attacked the lawmen from concealment, sent by McQuown. The gun battle does not end the conflict; just like in Warlock’s historical counterpart Tombstone, the surviving cowboys declare war on the city lawmen. Bannon warns Blaisedell not to get involved any further. As a duly-sworn deputy, it is Bannon’s responsibility to keep the peace, not the gunfighters’.
Bannon visits the San Pablo ranch to warn the McQuown that he must not come to Warlock the next day as he had publicly announced he would. McQuown stabs Bannon’s hand, pinning it to the table and threatening to rip it off unless the deputy swears that the cowboys’ version of the conflict is the true one. Only Curly’s intervention allows Bannon to escape alive.
Blaisedell proclaims his intention to retire from the peace-keeping business –he is going to marry Jessie and settle down. He offers his help to Bannon –the outlaws are still on their way –but the injured deputy refuses politely.
Tom Morgan is outraged by the recent events. His greatest anger is directed toward his rival for Blaisedell’s attention –he makes several callous remarks to Jessie, pointing out that Blaisedell could be killed at any time. Morgan is also very upset at Lilly –she has told Blaisedell about Morgan’s role in the death of her fiancé and his brother.
Morgan entreats his old friend not to intervene in the coming battle. He wants Blaisedell safe, and also wants to ensure that Bannon is killed. Then the townspeople would turn once more to Blaisedell to save them. “You can’t let him be the hero,” Morgan says. “If you ain’t the marshal, you’re nothin’!” He holds Blaisedell in their shared hotel rooms by gunpoint until the fight is over. Morgan informs Blaisedell that he is responsible for the gunfighter’s success –always watching his back, arranging his jobs, letting him have all the glory even though Morgan is the better gun. Everything he did was for Blaisedell; as Morgan had told Lilly earlier, “He’s the only person, man or woman, who ever looked at me and didn’t see a cripple.”
The two gamblers/gunfighters watch the fight through the hotel room window, and are surprised. Bannon wins. The deputy kills McQuown and his most vicious sidekick; the others are subdued with the help of Curly and several local citizens who have been inspired by the quiet young deputy to finally take their own stand.
By nightfall Morgan is drunk. The gambler shoots up the town, daring the “big, brave deputy” to come out. Blaisedell locks Bannon up in his own jail –he knows the deputy would stand no chance against Morgan.
Blaisedell faces his friend and warns him to settle down or Blaisedell will be forced to hurt him.
“Then I win,” Morgan says happily. “You’ll be the hero again!” Morgan smiles at the prospect of everything returning to its former status. He draws on his partner, firing first but intentionally missing –lending credence to his claim of being better than Blaisedell –and Blaisedell shoots him.
Anguished, Blaisedell picks up his friend’s body and carries it back to their saloon. A storm has begun –he lays Morgan on the faro table and stands vigil over it to the crackling sound of the lightning. The self-righteous judge is there; Blaisedell kicks the old man’s crutch from under him. “Crawl past him,” he says, pointing to Morgan. “He was a man.” Blaisedell burns the saloon down around Morgan’s corpse.
Bannon informs Blaisedell that he will have to arrest him on the next morning, thus giving him a chance to leave town before then. Blaisedell tells Jessie that he could not remain in Warlock, anyhow –he would have to become a storekeeper or a farmer if he did. Jessie does not understand; those were his plans only the day before, after all.
But something very important had happened since then. Morgan had indeed won. By his death, the gambler had ended Blaisedell’s idyllic plans and returned him to the life of the celebrated gunman –a life which Morgan’s lame leg and crippled self-esteem had caused him to deny himself. Clay Blaisedell rides away from Warlock, looking for a new town to tame. The viewer is left to wonder whether he can survive without his alter ego.
Tom Morgan was one of Anthony Quinn’s best roles, and one of the most complex characters to ever stride down a dusty Western street. He is sophisticated yet tough, and insanely jealous where his friend is concerned. The film’s title, Warlock, obviously comes from the town’s name; it could also apply to Clay Blaisedell, who performs dark magic with his guns, or to the story’s catalyst, Morgan, a male “witch.”
It is a mystery to me that Warlock is not more widely-known, or more fondly remembered. At certain points –especially the scene where Henry Fonda, his face lit by lightning, regards the body of the beloved partner he slew –the film achieves the quality of a classic tragedy. Perhaps the casual Western viewer likes his heroes to wear white hats, or his anti-heroes to wear black ones, and is left uncomfortable by these ambiguous figures whose very relationship is unclear –especially when that relationship is very homoerotic, as this one unquestionably is. Maybe the marshal should just stick to his job of killing the bad guys, and not let things get cluttered up by feelings and desires and the like.
I for one do not believe that to be the case. If it is, it should not be –the Western, as restrictive as the genre might seem at first glance, has the potential to be one of the most interesting story-telling avenues a writer can use. Think of Lonesome Dove or Unforgiven. The viewer who likes the Western for its action and intensity –and also the viewer who believes that the Western goes no deeper than those qualities –would both be pleasantly surprised by a visit back to the “psychological Westerns” of the 1950s. In the town of Warlock, all the hats are gray.
Now Available from Award Winning Author Troy D. Smith
“Troy Smith has a rare and wonderful gift… his work is a treat.” –Frank Roderus, two-time Spur winner
http://www.amazon.com/Riding-Sundown-Troy-D-Smith/dp/1456520520/ref=sr_1_1?ie=UTF8&s=books&qid=1309000917&sr=1-1
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
Monday, April 25, 2011
The Top Ten Greatest Western Comics
I recently polled a group of published Western authors and/or comics professionals for their choices of best Western comics characters and titles. It is posted at the Western Fictioneers website:
http://westernfictioneers.blogspot.com/2011/04/top-ten-western-comics-and-whole-slew.html
http://westernfictioneers.blogspot.com/2011/04/top-ten-western-comics-and-whole-slew.html
Troy D. Smith was born in the Upper Cumberland region of Tennessee in 1968. He writes in a variety of genres, achieving his earliest successes with westerns -his first published short story appeared in 1995 in Louis L'Amour Western Magazine, and he won the Spur Award in 2001 for the novel Bound for the Promise-Land and in 2017 for the short story "Odell's Bones" (being a finalist on two other occasions.) He received his PhD in history from the University of Illinois, and is currently a history professor at Tennessee Tech.
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