In the 2002 film Orange County, a minor character named Kip is painted as a pretentious, bloviating Stanford undergrad with one simple utterance in reference to his screenplay: “Well, ostensibly it’s about vampires, but really it’s about the reunification of Germany.”
At the risk of sounding like Kip, Rattlers is really about Vietnam.
I know, I know. Just hear me out.
The narrative centers around Sam DeBlase, a retired veteran whose meager pension forces him to open up a construction company. He’s finally able to secure a payout that will allow him to expand while taking a hands-off approach and travel in style with his wife Marge. Greenbrier Towers are an architectural wonder overlooking the city of Los Angeles and the sapphire expanse of the Pacific. It will be a posh resort that caters to the rich and famous of the City of Angels. In other words, a triumph of capitalism.
The only problem is the property is sitting right on top of a nest of diamondback rattlesnakes, who are unearthed midway through the project. They call in the help of two herpetologists. Dr. Mizer, sullen and crotchety, declares they will never be able to rid the cliff of the underground inhabitants. “Abandon the site,” he says. “Leave the snakes in peace … If you don’t they’ll never give you any peace.”
Dr. David Shetland admits he’s never seen a nest wiped out but does not rule out the possibility.
Construction wears on as an attempt is made to kill every last snake in the nest. For months, not a single sighting has taken place. Then comes the lavish grand opening, attended by movie stars, producers, an ace pitcher for the Dodgers, his model wife, and the list goes on. Not to spoil anything, but three guesses as to whether or not all the snakes have been eradicated.
The underground serpentine menace slithers out at inopportune times, lies in wait hidden in the underbrush, and fatally strikes. They refuse to be defeated, even with the most sophisticated and militant efforts. Not to compare human beings to snakes, but it does smack of narratives around the Viet Cong.
Furthermore, each time there’s a possibility of a snake attack, Sam is struck with an uneasy feeling. Inexplicably, a memory of an earlier tragedy resurfaces: the day his only son, was killed in a rocket attack in Vietnam.
If that symbol is lurking beneath the surface, there is some text that isn’t even sub. I’m guessing Gilmore had recently read a book of Freud because the comparisons of snakes and phalluses are almost as numerous as the rattlers themselves.
In the introduction to American Literature in Transition, 1970-1980, Kirk Curnutt points to the 1968 Supreme Court Case Memoirs v Massachusetts as the moment that hailed a change in literature, one that rises—no pun intended—in the 70s. Ruling on an obscenity trial that banned the selling of Fanny Hill, the Court found that literature could only be deemed obscene and banned if it lacked any artistic merit and appealed only to “prurient interests.” Curnutt claims this was so broad it opened the floodgates to more graphic depictions of sex and sexual organs.
Texts like Portnoy’s Complaint and Fear of Flying immediately come to mind. Rattlers, while not achieving the same level of literary achievement, follows suit. It’s borderline erotica. Every major and most minor characters are bumping and grinding at some point or another, and the bedroom antics are described with the same attention to detail as the snake’s scales and fangs.
There are busted marriages and affairs galore. For all their years of matrimony and their advanced age, Sam and Marge enjoy healthy libidos. There are lesbian and bisexual encounters, touches of S&M, and even one gay liaison. (It’s worth noting that the one male-on-male tryst is only alluded to, the single act of carnal desire that doesn’t get the in-depth treatment.) As if rattlers slithering “through the well-smoothed channels” isn’t enough for a psychoanalytic critic to figure it out, we have to weather a gratuitous deluge of flesh and moans.
In an essay from the 90s, David Foster Wallace refers to Phillip Roth as a “penis with a thesaurus.” I doubt he ever read this obscure text, but if he thought Roth got a little graphic …
Gilmore, however, is more of a “penis with a typewriter.” I’m not sure he owned a thesaurus. The writing is simple, straightforward, and unadorned. Clearly, it’s popular pulp with no aspirations of anything more. At time the prose can get clunky.
The plot isn’t terribly imaginative either. When Dr. Mizer remarks that you may not see the snakes for a day, for a month, or for a year, but they will be back, there’s no doubt in the reader’s mind. Not to give too much away, but when we discover that there is some shoddy material being installed in the hotel and Sam has a heated confrontation with the contractor, we already realize what will eventually lead the snakes back to the surface. And, come on, of course it’s going to happen during the lush grand opening events.
That said, the characters are well drawn and feel three-dimensional. A couple of them are actually likeable enough to buy pathos and create suspense as they stare down the fanged fiends. The pacing is solid, and it’s a quick read.
In short, it’s better than a lot of other yarns in this genre. Nonetheless, it is inextricably linked to the genre and is limited for this reason. I didn’t hate it, and I didn’t love it. If nothing else, my expectations were so low that I was pleasantly surprised to find it had a little bit of bite.