Authors:
Historic Era: Era 10: Contemporary United States (1968 to the present)
Historic Theme:
Subject:
April 1990 | Volume 41, Issue 3
Authors:
Historic Era: Era 10: Contemporary United States (1968 to the present)
Historic Theme:
Subject:
April 1990 | Volume 41, Issue 3
For me, the worst horror of entering a new school in the fourth grade was show-and-tell. Each morning, just after attendance, we were expected to hone our “communication skills” by giving a little talk on something that interested us. I had no communication skills to hone—terror made me sway alarmingly and caused my voice simply to disappear when I was called upon (no loss, since it also prevented me from summoning up the simplest words)—and I was convinced that nothing that interested me could possibly interest my new classmates.
After several days of this, the teacher gently suggested that I might try reading something aloud. I was obsessed with the Old West then and chose Walter Noble Burns’s The Saga of Billy the Kid, published in 1926. Burns was a veteran Chicago newspaperman, weak on research but strong on storytelling, whose protagonist was a genuine hero, modest and misunderstood, an enemy of privilege and a friend to the poor. Best of all, for my purposes, Burns wrote with shameless panache. Here his hero shoots his way out of a burning house: “The Kid’s trigger fingers worked with machine-gun rapidity. Fire poured from the muzzles of his forty-fours in continuous streaks. … On he ran like a darting, elusive shadow as if under mystic protection. He cleared the back wall at a leap. He bounded out of the flare of the conflagration. Darkness swallowed him at a gulp.”
Great stuff for a ten-year-old, and my fellow ten-year-olds agreed; even the girls clapped and cheered and begged for more. For several weeks—until I reached the last gaudy page—I was a smash at show-and-tell.
If I had then been able to read aloud from Robert M. Utley’s new Billy the Kid: A Short and Violent Life, my audience’s attention might have wandered some, but they would have learned a lot more about what the Old West was really like. Utley is an old-fashioned scholar in the best sense, stubbornly unwilling to rearrange evidence to fit current historical fashion. His books about the old Indian-fighting army, for example, published in the late sixties and early seventies, when seldom was heard an encouraging word about the westward movement, demonstrated that neither troopers nor tribesmen ever had a monopoly on villainy—or virtue.
Unembellished facts about outlaws are hard to come by, and Utley’s study is necessarily less full-scale biography than biographical sketch, but it nicely conveys the context in which the Kid’s misdeeds can be understood. The Lincoln County War has been fought and refought in more than 40 films, but as Utley wrote in his own vivid account of it published three years ago, High Noon in Lincoln: Violence on the Western Frontier, the actual events failed to follow any of the “formulas favored by screenwriters. The war was not a fight between sheepmen and cowmen, or stockmen and sodbusters, or big cattlemen and little … or enclosers and fence-cutters,