From the Publisher
“Stephen Harrigan ranks among the finest atmospheric novelists…. Simply put, storytelling does not get any better than this.” —The Dallas Morning News
“One of the best novels of [the year]. . . . Like Ian McEwan’s Atonement . . . Harrigan magically re-creates a point in history while engaging readers with a mesmerizing story.” —Pittsburgh Tribune-Review
“A poignantly human monument to our history.” —The Wall Street Journal
“Remember Ben Clayton is a superior piece of storytelling, a historical novel, a Texas saga, an allegory of art and all the important issues it can raise, an onion of a book with many leathery layers to be unpeeled, eventually revealing our vast capacity to love, and to hurt the ones we love, and to forgive.” —San Antonio Express-News
“Magnificently compelling. . . . Stephen Harrigan handles these scenes with immaculate detail, an acute ear for fear and cruelty, and an eye for the unpredictability of human behavior in moments of passion. . . .We are knocked flat with admiration.” —The Washington Post
“Like the unforgiving bullets that pierce Clayton’s flesh, the story goes unflinchingly deeper into the very human failings of fathers, the need for children to forgive and what it means to create art. . . . A tautly written novel. . . . With Remember Ben Clayton, Harrigan has created art.” —Austin American-Statesman
“A stunning work of art. . . . The story builds with determined momentum, providing a grimly vivid sense of place and deep insight into the creative process and family relationships. Harrigan’s The Gates of the Alamo has become a modern classic, and his latest historical deserves similar acclaim.” —Booklist (starred review)
“The characterizations in this story are superb, enhancing this engrossing novel that never plays out as you expect it to.” —The Oklahoman
“A solemn, affecting exploration of the effects of devoting one’s life to art at the expense of family, friends and love.” —The Texas Observer
“As in The Gates of the Alamo, Harrigan works on a broad canvas. . . . Lying behind the Texas narrative are the bloody remnants of the Indian Wars, fresh enough to reach directly into the lives of the next generation and to provide a mirror to the carnage just concluded in Europe.” —The Austin Chronicle
“A heartening novel about art, war, and the tug of family relationships.” —Kirkus Reviews
“Thoroughly engaging. . . . Intimate and compelling. . . . Harrigan transports his readers to each scene, as well as inside the tormented minds of his characters.” —Southern Literary Review
“Rich in detail about the Texas landscape and the men and women who live there. It is a telling measure of [Harrigan’s] skill as a writer that he seamlessly weaves. . . major themes through this new work without allowing his characters to bear the weight of being symbols rather than real people. . . Harrigan is a gifted storyteller whose images at times are as rich as those in the best poetry.” —The Washington Times
Harrigan's austere latest (after Challenger Park) explores, with a dry swagger, art, secrets, and family in post-WWI America. After accomplished sculptor Gil Gilheaney is commissioned by Texas rancher Lamar Clayton to sculpt a statue of his son, Ben, who died in a battle on French soil, Gil and his daughter/assistant Maureen—an artist in her own right, though with blunted ambitions—travel from New York to the Clayton ranch to research Ben's life and work on the piece. Gil picks up quickly that there's plenty Lamar isn't telling him and becomes intrigued by Lamar's past: Lamar and his sister were kidnapped and raised by Indians, and the family of Lamar's housekeeper was massacred by Indians. Maureen, meanwhile, battles her own needs for artistic expression and independence, and a young man who was with Ben when he was killed and suffered a disfiguring injury gets pulled into the ranch's orbit. Harrigan doesn't shy from the gristle—the harshness of death on the battlefield, a lynch mob's mindless lust for destruction, screwworm flies festering in a calf's castration wound—and the secrets each character holds are grim and heartbreaking. The narrative's crushing sense of despair would be impossible to endure in the hands of a lesser writer. (May)
Lamar Clayton, a hard-nosed rancher in west Texas with a violent past, hires a sculptor from San Antonio to create a bronze monument to Clayton's son Ben, who died fighting in World War I. Sculptor Gilheany, sensing the opportunity to create a final masterpiece, uncovers a tragic family history of Comanche kidnappings, secrets, and guilt. Harrigan (The Gates of the Alamo) is adept at describing his territory, from a ruined mission in 1920s San Antonio to the plains of west Texas. He's also clearly at home with the process of bronze sculpture, and we closely follow the journey of Gilheany's piece from his Texas studio to a casting foundry in New York City. While ably exploring themes of artistic struggle, aging, and family conflict, the book is most riveting in the sometimes horrific chapters on war, from the Indian Wars of the late 1800s to World War I. VERDICT An engaging novel on family conflict and the artistic process; also a book that would do well with readers of Southwest history and fiction.—John R. Cecil, Austin, TX
A Texas rancher wants to commemorate his son, killed in World War I, by commissioning a statue, but we discover this public act covers up a failed relationship.
Sculptor Francis "Gil" Gilheaney has had a checkered career. He moved to San Antonio shortly after completing a work honoring the heroes of the Alamo, but one of his recent works, The Pawnee Scout, has been destroyed by a drunken mob in Omaha. He's intrigued by an offer that comes to him from Lamar Clayton, owner of a vast tract of Texas range. While Lamar doesn't readily reveal his feelings, it's clear he's grieving for Ben, his only child, who died as a young soldier at St. Etienne on the Western Front. Gil takes the commission because of the challenge—and perhaps because at the age of60 he has only one more great work in him. Accompanying him is his daughter Maureen, also a sculptor, now 32, unmarried and living in the shadow of her genius father. As Gil and Lamar get to know each other, hidden parts of their past begin to emerge. We learn, for example, that Lamar's parents had been killed by Comanches on the frontier, and for two years Lamar had been raised by the tribe. He's still suspicious of Jewell, his sister, whom the Comanches had sold to the Kiowa and who had tried to teach Ben "Indian ways," especially before his sojourn to France. We further learn that when he was part of the tribe, Lamar participated in atrocities that Ben found out about. Gil feels that to make a masterpiece he has to come to "know" Ben, and he even goes to the cemetery in France where Ben is buried. Although tempted to give up the commission altogether, Gil finally decides to complete the work.
A heartening novel about art, war and the tug of family relationships.
Read an Excerpt
From the Introduction
They tore at the earth with their entrenching tools and mess-kit lids as the shells burst all around them and in the scattered pine tops overhead. They were already dug in but they needed to be deeper, because there did not seem to be any way to survive above the ground. The concussive turbulence sucked away the air. The men gasped for breath in the vacuum.
Shrapnel pierced the tree trunks and ploughed into the earth with hissing force as the ground heaved and pitched like a malevolent carnival ride. Arthur Fry, a nineteen-year-old feed store clerk from Ranger, Texas, thought one of his ears might have been sliced off but he was not sure. There was a thick pooling warmth below the rim of his helmet but no pain. The blasts had blown dirt into his eyes and when he tried to squeeze them shut it felt as if the insides of his eye- lids were lined with broken glass. He had not been under fire before and could not recognize with any clarity the sounds and signatures of the shells. They were supposed to be able to differentiate the smell of mustard gas from that of ordinary high explosive, but in this endless barrage there was no way to tease out one toxic smell from another and the order had not come down to put on their gas masks.
Some of the shells rattled and shuddered like they were tearing the sky apart and some carved a narrow screaming path. In the last few days the Germans had been pushed off Blanc Mont Ridge by the Second Division and now they were engaged in a fighting retreat, using up all the ammunition they did not plan to carry with them in a furious, indifferent barrage of whiz-bangs and jack johnsons and GI cans and other shrieking varieties of ordnance whose names Arthur did not know.
Thick clods of dirt pattered down on his back and then Arthur heard the shell that he was sure was going to kill him, an abruptly withdrawn shrillness somewhere in the sky overhead, a predatory silence as the descending shell concentrated on the terrain below, patiently searching him out. It finally exploded just over the slight swell of land that hid them from the enemy, an eruption whose vicious force seemed to come not from the sky but from deep below, as if the shell had plunged to the core of the planet and detonated there. The inside of his head roared with soundlessness. He could not even hear his own whimpering. He pressed his face still closer to the noxious, gaseous earth. He tried to concentrate on the feel of the cool dirt against his skin.
When he forced his eyes open again it was in response to an odd little brush against his sleeve. Through the haze of gas and dirt he saw an animal he had never seen alive before running about in tight, frantic circles between him and Ben Clayton. In their camions on the way to the front they had passed smashed hedgehogs on the roads, but they had seemed like slow-moving and primitive things and he could never have guessed at their living vibrancy. This one hopped in confusion, its soft quills lying flat and its nose twitching madly as it scrambled around and around searching for a place of safety.
Arthur looked over to Ben. He had the odd thought that he should reach out and grab Ben’s shoulder and point out the strange creature to him. He would have liked to impress his friend, to show that his light- hearted curiosity was greater than his fear. But he could not make himself move and there was no possibility Ben could hear him over the roar of the shells. And in an instant the hedgehog straightened out in its flight and disappeared, bounding back toward Blanc Mont.
Another shell exploded twenty or thirty yards down the line and then the barrage ended. The air trembled in the sudden silence. Arthur turned over on his back and looked up at the sky through the swirling chemical vapors and touched his ear. The monstrous wound he expected to find there was nothing but a shallow cut, the bleeding already stanched by a makeshift plaster of gummy soil.
“Jesus God in heaven!” somebody called, and when Arthur looked toward the sound he saw a man lying on his back, his body blown open and his splintered bloody ribs exposed. The dying man stared in fascination at the gaping maw of his own chest and held his trembling hands in the air. He screamed for somebody named Aunt Agnes. Arthur tore his eyes away and convinced himself he hadn’t seen this or heard it; it was just some horrible spasm of imagery that his mind had produced. He had no more responsibility to believe in it than he did to believe in the nightmares of his childhood.
From up and down the line they could hear the groans and pleadings of the wounded. It had stopped raining sometime during the night but the ground was still wet and as the stretcher bearers and runners hurried now through the shallow trenches they kept sliding on the slick chalk that lay beneath the thin topsoil.
Sergeant Kitchens walked down the line to talk to the men and steady them, but Arthur could see he was not steady himself. “Keep digging in,” Kitchens said, “but don’t go all the way to China because it looks like we’ll be jumping off here soon enough.”
“You think this is really the jump-off line?” Arthur said in an unsteady voice to Ben, who was methodically picking away at the chalk with his entrenching tool. Ben looked up and said he guessed it was.
“Well, it’s a lot of open ground to cross, if you ask me,” Arthur said. Between them and the village there was a half mile of open scraggly ground with no cover except for almost untraceable dips in the terrain. The marines were supposed to be in possession of the main part of Saint-Étienne but nobody knew if that was really true. In any case the Boche were strongly entrenched behind a cemetery wall at the eastern end of the village, and on the far bank of the little stream, and on a solitary hill, deadly prominent, just ahead to their right. There were also machine-gun nests, Arthur knew, artfully concealed in every contour and pocket of ground.
“I don’t expect it’ll take us that long to get across it,” Ben said. His voice was clear and steady but his eyes had narrowed to a weird focus that gave Arthur no comfort. The change had come over Ben in the last few days, on the nighttime marches across the cratered fields from Somme-Suippe. What he had learned about his dad back home in Texas from one of the Indians in Company E had closed him in on himself. He wouldn’t talk much; his friendly open face had turned taut. When they stopped to rest or to eat their cold meals he sat apart from Arthur and fingered the little rectangle of metal, cut from some abandoned mess kit, upon which he had laboriously tapped out with a blunt nail his name and rank and unit along with a pretty decent sketch of a horse standing atop a shallow mesa. A number of the men had made trench art like it. They kept them in their wallets as a backup to their dog tags in case their bodies were blown apart and the pieces scattered among multiple heaps of the dead.