I don’t read near as much fiction as I used to. Of late, my reading’s become largely focused on research for my own books. So when I was offered a copy of Robert Dwyer and Austin Wright’s The Sheriff, I was happy to have a reason to read a novel again.
Austin Wright proudly admitted to me that The Sheriff was influenced by a handful of key Western movies — one is Ford’s The Man Who Shot Liberty Valence (1962), pictures he’s loved since childhood. That alone got me interested.
The Sheriff is centered around Sheriff John Donovan, who founded the Texas panhandle town of Three Chop. He’s run the place for a good 20 years. But the times, they are a-changing, a sad fact that Donovan has to wrap his head around, fast. With a new century on the way, Sheriff Donovan’s community (along with the West as a whole) in a state of flux and his health failing him, some bad men make their way to Three Chop.
Over the years, the end of the Old West has proven rich for storytellers, both in print and on film. And as we’ve seen in many terrific Westerns (especially those from the 50s), you can use the Western as a framework for all sorts of commentary on all sorts of issues. (Quick example: the ton of McCarthy/HUAC allegory packed into 50s Westerns.) This end-of-the-West story has plenty to say — about everything from religion to mortality to progress to big business, and it does it without sacrificing action, pacing or authenticity.
It’s so easy to recommend The Sheriff. It’s a big story about some big issues — leading to the big showdown. Click on the cover to buy one.
One more thing: being that Wright is an admitted John Wayne nut, does his sheriff’s name come from Wayne and Donovan’s Reef (1963)?
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