re and more in his fiction, Matthiessen made a fetish of the Faulknerian device of multiple, conflicting and elliptical points of view. The tendency is tamed in At Play in the Fields of the Lord. For all the hyperbolic reactions to it, Far Tortuga is a fine if difficult novel that teaches you how to read it as the narrative advances through foul weather. Shadow Country in its final form is a heap of jumbled repetitions about the life of Edgar Watson, a real-life sugar planter on the south-west coast of Florida accused of various crimes, including multiple murders, who died at the hands of a mob of his neighbours in 1910. The first volume is told by a rotation of dozens of neighbours and relatives, speaking in various forms of swamp hillbilly dialect. The next book, told in the third person, follows Watson’s descendants, who try to piece together the truth of his legend. The final volume is narrated by Watson himself in a higher register. It’s hard to defy the blurb from Don DeLillo that appears on the cover of the current edition – ‘His writing does every justice to the blood fury of his themes’ – but just as hard to call Watson a hero or villain deserving of this epic treatment.
Some nicely acid comments.