Considering that most of Jack Schaefer’s renown comes from his novel Shane, I assumed these stories would be of the same ilk in that they would be told from the sugarcoated perspective of a young boy, contain heroes who create their own justice when the law fails, and be composed of characters who–like the horses they so love–are free to do as they please so long as they don’t transgress some reductive inner morality that is commensurate with the storytelling of this era.
And the first story, “Jeremy Rodock,” basically does just this. When mischievous bandits begin stealing Rodock’s horses, he must track them down on his own and find the right balance of sympathy and retribution to set things right again.
But Schaefer changes the formula after this. He complicates issues of morality and makes a break from the worn out nostalgia of the settler mind. In “Miley Bennett”–perhaps the best story of the bunch–he shatters the mythic image of the west as a place anyone can start over with enough grit and determination. He does something similar in “Kittura Remsberg” except his unattached male leads are replaced with a married couple whose love for each other turns bitter as they must give up every aspect of the lives they’ve known for a chance at freedom.
He scrounges up some humor in “Major Burl,” all while raising questions about what constitutes a real town: the proper infrastructure or the spirit of community. He shows the ugly face of discrimination and paternalism in “Sergeant Houck” when a white woman has a baby with a native (even if the story ends unsatisfactorily). And, even if it wasn’t meant this way, he manages at least one story, “General Pingley,” that seems eerily fitting of our current times, as it focuses on a cranky old confederate soldier who begins as a nuisance and grows to become dangerous in his departure from reality.
All in all, this is a far more eclectic bunch of stories than I would have imagined.