Hombre

Hombre

4.6 19
by Elmore Leonard
     
 

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“Although known for his mysteries, Elmore Leonard has penned some of the best western fiction ever.”
USA Today

“A classic….Leonard’s writing style is as effortless and enjoyable as watching a good movie.”
Portland Oregonian

Grand Master Elmore Leonard is justifiably acknowledged

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Overview

“Although known for his mysteries, Elmore Leonard has penned some of the best western fiction ever.”
USA Today

“A classic….Leonard’s writing style is as effortless and enjoyable as watching a good movie.”
Portland Oregonian

Grand Master Elmore Leonard is justifiably acknowledged as “the best writer of crime fiction alive” (Newsweek)—and, in fact, one of the very best ever, alongside other all-time greats like John D. MacDonald, Dashiell Hammett, James M. Cain, and Robert Parker. But he has also many acclaimed masterworks of American western fiction to his credit—including Hombre, the basis for the classic Hollywood motion picture starring Paul Newman. Set in Arizona mining country, Hombre is the tale of a white man raised by Indians, who must come to the aid of people who hate him when their stagecoach is attacked by outlaws. As thrilling as his contemporary novels of crime, double-cross, and murder in Detroit and Miami, Hombre is Elmore Leonard at his riveting best—no less than one would expect from the creator of U.S. Marshal Raylan Givens (Justified).

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Product Details

ISBN-13:
9780061832895
Publisher:
HarperCollins Publishers
Publication date:
10/13/2009
Sold by:
HARPERCOLLINS
Format:
NOOK Book
Pages:
192
Sales rank:
118,486
File size:
618 KB

Read an Excerpt

Chapter One

Here is where I think it begins -- with Mr. Henry Mendez, the Hatch & Hodges Division Manager at Sweetmary and still my boss at the time, asking me to ride the sixteen miles down to Delgado's with him in the mud wagon. I suspected the trip had to do with the company shutting down this section of the stage fine; Mr. Mendez would see Delgado about closing his station and take an inventory of company property. But that was only part of the reason.

It turned out I was the one had to take the inventory. Mr. Mendez had something else on his mind. As soon as we got to the station, he sent one of Delgado's boys out to John Russell's place to get him.

Until that day John Russell was just a name I had written in the Division account book a few times during the past year. So many dollars paid to John Russell for so many stage horses. He was a mustanger. He would chase down green horses and harness-break them; then Mr. Mendez would buy what he wanted, and Russell and two White Mountain Apaches who rode for him would deliver the horses to Delgado's or one of the other relay stations on the way south to Benson.

Mr. Mendez had bought maybe twenty-five or thirty from him during the past year. Now, I suspected, he wanted to tell Russell not to bring in any more since we were shutting down. I asked Mr. Mendez if that was so. He said no, he had already done that. This was about something else.

Like it was a secret. That was the trouble with Mr. Mendez when I worked for him. From a distance you could never tell he was Mexican. He never dressed like one,everything white like their clothes were made out of bedsheets. He didn't usually act like one. Except that his face, with those tobacco-stained looking eyes and drooping mustache, was always the same and you never knew what he was thinking. When he looked at you, it was like he knew something he wasn't telling, or was laughing at you, no matter what it was he said. That's when you could tell Henry Mendez was Mexican. He wasn't old. Not fifty anyway.

Delgado's boy got back while we were having some coffee and said Russell would be here. A little while later we heard horses, so we went outside.

As we stood there seeing these three riders coming toward the adobe with the dust rising behind them, Mr. Mendez said to me, "Take a good look at Russell. You will never see another one like him as long as you live."

I will swear to the truth of that right now. Though it was not just his appearance.

The three riders came on, but giving the feeling that they were holding back some, not anxious to ride right up until they made sure everything was keno.When Russell pulled up, the two White Mountain Apaches with him slowed to a walk and came up on either side of him. Not close, out a ways, as if giving themselves room to move around in. All three of them were armed; I mean armed, with revolvers, with cartridge belts over their shoulder and carbines, which looked like Springfields at first.

As he sat there, that's when I got my first real look at John Russell.

Picture the belt down across his chest with the sun glinting on the bullets that filled most of the loops. Picture a stained, dirty looking straight-brim hat worn almost Indian-fashion, that is, uncreased and not cocked to either side, except his brim was curled some and there was a little dent down the crown.

Picture his face half shadowed by the hat. First you just saw how dark it was. Dark as his arms with the sleeves rolled above his elbows. Dark -- I swear -- as the faces of the two White Mountain boys. Then you saw how long his hair was, almost covering his ears, and how clean-shaved looking his face was. Right then you suspected he was more to those Apaches than a friend or a boss. I mean he could be a blood relation, no matter what his name was, and nobody in the world would bet he wasn't.

When Mr. Mendez spoke to him you believed it all the more. He stepped closer to John Russell's roan horse, and I remember the first thing he said.

He said, "Hombre."

Russell didn't say anything. He just looked at Mr. Mendez, though you couldn't see his eyes in the shadow of his hat brim.

"Which name today?" Mr. Mendez said. "Which do you want?"

Russell answered Mr. Mendez in Spanish then, just a few words, and Mr. Mendez said, in English, "We use John Russell. No symbol names. No Apache names. All right?" When Russell just nodded, Mr. Mendez said, "I was wondering what you decided. You saidyou would come to Sweetmary in two days."

Russell used Spanish again, more this time, evidently explaining something.

"Maybe it would look different to you if you thought about it in English," Mr. Mendez said and watched him closely. "Or if you spoke about it now in English."

"It's the same," Russell said, all of a sudden in English. In good English that had only a speck of accent, just a faint edge that you would wonder every time you heard him if it really was some kind of accent.

"But it's a big something to think about," Mr. Mendez said. "Going to Contention. Going there to live among white men. To live as a white man on land a white man has given you. To have to speak English to people no matter what language you think in."

"There it is," Russell said. "I'm still thinking all..."

Hombre. Copyright © by Elmore Leonard. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

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Meet the Author

Elmore Leonard wrote more than forty books during his long career, including the bestsellers Raylan, Tishomingo Blues, Be Cool, Get Shorty, and Rum Punch, as well as the acclaimed collection When the Women Come Out to Dance, which was a New York Times Notable Book. Many of his books have been made into movies, including Get Shorty and Out of Sight. The short story "Fire in the Hole," and three books, including Raylan, were the basis for the FX hit show Justified. Leonard received the Lifetime Achievement Award from PEN USA and the Grand Master Award from the Mystery Writers of America. He died in 2013.

Brief Biography

Hometown:
Bloomfield Village, Michigan
Date of Birth:
October 11, 1925
Place of Birth:
New Orleans, Louisiana
Education:
B.Ph., University of Detroit, 1950
Website:
http://www.elmoreleonard.com/

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