On "The Assassination of Jesse James by the Coward Robert Ford" by Ron Hansen *****

Perhaps I ruined this book by watching the movie a few months ago, unwilling to wait to see something that had gotten such great reviews. The book received great reviews too, and I understand why, even if as I read, I often saw Brad Pitt and Casey Affleck in my mind. In a way, seeing the movie first may have helped, insofar as the book includes a lot of characters and keeping them straight might have been more difficult had I not known where the story was already going.

Hansen comes from a different school of fiction writing than that to which I've become accustomed and generally come to see as professional. What I mean is that unlike so many purveyors of modern fiction, he doesn't seem to descend as much from the concrete, action-is-character line of writers like Hemingway or Carver. Hansen has no problem using abstractions, describing people's character and feelings without reference to an act. Yet he manages to do so with great power. The book is also heavy on physical descriptions of people and places, which while beautifully rendered, seem somehow pertinent despite their length.

As historical fiction, there's a degree to which it's sometimes hard to distinguish what is fact and what fiction. Hansen noted that he didn't make up anything that would have strayed from known facts, but clearly in smaller scenes, he rendered some dialogue and so forth (but how much of this itself was pulled from newspaper accounts and so on is difficult to know without looking at his source material). At points, the novel felt more like history, as he covered material that seemed less connected to the action, providing readers with information about people and what happened to them once they left the main plot of the story. The last portion of the book, likewise, feels a bit of a letdown, as insofar as once Jesse is killed and we focus almost entirely on Ford, the chronological pacing picks up rather rapidly. Years go by in the page span where previously only a few days would have. And yet, in a way, that's Hansen's point. The letdown is not just ours but also Ford's. He had thought killing Jesse would bring him fame and fortune and popularity. He had not considered the emotional consequences (after all, he kind of idolized Jesse but also felt a bit envious of Jesse's own fame and wanted that for himself--even as Jesse was a quasi friend). In the end, the fame turned out to be more infamy, and the fortune short lived. As Ford notes, at one point, he died long before his actual death.

It's curious also how one comes to care about both James and Ford, who were both rascals and not people we would term good human beings insofar as what they did to others. Yet even after all the killing and stealing James did and how much you hate the way he treated others, when James dies, you end up feeling a little sad and a little angry at Ford; likewise, you feel somewhat similarly about Ford at his death, though he'd proven to be not much better. Perhaps that's because Hansen portrays them a little as men who come to rue their life choices and who wish that somehow, could they go back to pivotal moments in their past, they'd have taken a different path, like the one Jesse hopes for for his son, whom he shelters from stories about his bandit life.