The ultimate Portis: for the first time in one collector’s volume, the complete fiction and collected nonfiction of the author of True Grit
Summer reading recommendation in THE WASHINGTON POST, THE WALL STREET JOURNAL, and THE MILWAUKEE JOURNAL SENTINEL
“Charles Portis is one of the great pure pleasures available in American literature.” —Ron Rosenbaum
“Like Mark Twain’s Huckleberry Finn and Thomas Berger’s Little Big Man, Charles Portis’s True Grit captures the naïve elegance of the American voice.” —Jonathan Lethem
“No living Southern writer captures the spoken idioms of the South as artfully as Portis does.” —Donna Tartt
“His fiction is the funniest I know.” —Roy Blount, Jr.
Twice adapted as a film, first in a version starring John Wayne and then by the Coen Brothers, True Grit is a wonder of novelistic perfection, told in the unforgettable voice of 14-year-old Mattie Ross as she sets out to avenge her murdered father in a quest that brings her out of her native Arkansas and into the wilds of the Choctaw Nation of the 1870s. One of the great literary Westerns, it is also a novel that has invited comparison with The Wizard of Oz, Alice in Wonderland, and Adventures of Huckleberry Finn.
Portis’s deadpan debut novel Norwood (1966) is, like True Grit, the story of a quest, though here the stakes are far lower: an auto mechanic from Texas embarks on a madcap journey to New York City to try and recover $70 owed to him from an Army buddy.
A book that according to Roy Blount Jr. “no one should die without having read,” The Dog of the South (1979) is yet a third saga of pursuit, this time all the way to Central America. Ray Midge is on the road looking for the man who has run off with his car (and of somewhat less interest to him, his wife.)
Masters of Atlantis (1985) conjures the fictional cult of Gnomonism and takes an uproarious plunge into the dark heart of conspiratorial thinking and schismatic in-fighting.
Gringos (1991), set in Mexico, follows an expatriate ex-Marine in his search to find a UFO hunter gone missing in the Yucatan, amid a supporting cast of archaeologists, drug-addled hippie millenarians, and the son of the “bravest dog in all Mexico.”
A generous gathering of the nonfiction reveals Portis’s skills as a reporter, above all in his coverage of the Civil Rights Movement; his appreciation of Arkansas history and landscape, as in “The Forgotten River”; and his poignancy as a family memoirist, on display in his recollection “Combinations of Jacksons.”
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