A finely wrought Western mystery by a true master of the form.
In Schopen’s latest neo-Western, an ex-lawman finds his life upended by the discovery of a missing plane.
Fats Rangle used to be a deputy sheriff in Pinenut County, but those days are behind him. The former cop now operates Cherry Creek Stables and Excursions with his brother on the family’s ranch in the Nevada desert, which offers such activities as horseback riding, camping, and fishing parties. Fats laments the many changes that have come to his native valley, bringing more development, more people, and a lowering water table that’s causing vegetation to dry up. While riding one evening in the nearby mountains, he comes across the wreckage of a small single-engine plane that went missing two years ago. There are two bodies inside, mummified by the elements, but nothing of obvious value: “More interesting to Fats was the track in the snow…that zigzagged up to the wreckage. Someone had been here, he guessed a month or so ago. He could also guess who. And why.” Fats purposely tramples over the original tracks, and later, when he reports the crash to his former colleague, Sheriff Dale Zahn, he doesn’t mention that someone else had been there. It turns out that Fats’ cousin Strutter Martin has gone missing, and Fats suspects that his disappearance and the tracks outside the plane are related—especially after he learns of a missing briefcase full of cash that should have been on the plane. Fats launches a private investigation into the whereabouts of Strutter and the briefcase, and he soon stumbles upon a much larger scheme involving political corruption, a Las Vegas dancer, and water rights. The stakes of this game are high, and Fats will have to play his hand carefully if he doesn’t want to end up dead.
Over the course of this novel, Schopen shows himself to be a skilled poet of the Western landscape, and readers will find that his prose is as lean and tough as old leather: “The wind soughed. A jay fussed. Near the corral, a young bay mare cropped the sparse mountain foliage. Beside the water tank stood Fats Rangle, squat, still.” The hinterlands between the desert and the city provide a stark stage for this morality tale, and it’s one in which nature, in all its danger and delicacy, is a force that must always be reckoned with. The novel combines clearly recognizable Western elements with those of hardboiled detective fiction, and the laconic, short-tempered Fats exemplifies the antiheroic archetypes of both genres. The protagonist’s search for answers quickly becomes a broader exploration of himself and his history—particularly the series of events that caused him to leave the sheriff’s office for good; the story also encompasses the evolving realities of his beloved, but no longer remote, valley homeland. Is there still a place in the West for men such as Fats? Readers will hope so, as long as there are talents like Schopen to write about them.
A finely wrought Western mystery by a true master of the form.Pub Date: Aug. 22, 2023
ISBN: 9781647791186
Page Count: 223
Publisher: University of Nevada Press
Review Posted Online: Dec. 8, 2023
Kirkus Reviews Issue: Feb. 1, 2024
Review Program: Kirkus Indie
BOOK REVIEW
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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