Grave Peak, Selway-Bitterroot Wilderness, North Idaho
One of the most amazing books-on-tape I listened to recently is Denis Johnson’s Train Dreams. Following the story of a life of a literal nobody — this was Johnson’s forte — Robert Grainier, a day laborer in the American West, he writes in unsparing style about Grainier’s life from his perspective. The events that happened, both good and bad, are raw, and unscripted. The basic plot — an orphaned man living in the Inland Northwest, outside of Bonner’s Ferry Idaho — is never broken by much comfort, at least for very long. Living here myself, and sitting here watching the December rain fall outside, it was an act of constant endurance, without a pile jacket or Gore-Tex raincoat in sight. Johnson, besides being an elegiac writer, also embodies Robert Heinlein’s concept of a fair witness. – an unsparing, but non-critical analyst of a situation.
The book reading is stunning, and if you have time, I highly recommend you listen to it. It is disorienting in a strange, immersive way, and showcases Johnson as one of the premier writers of the last 50 years, at least. Johnson doesn’t attempt any intentional emotional manipulation of the reader. Instead, there is just the narrator telling his ghost story from his point of view. The story centers around losing his wife and child in a fire, and I won’t say more than that.
At the same time I had the book recommended to me by an X pal (Amanda Fortini, also a writer, and wife of yet another X pal, Walter Kirn) a movie made from the plot of the book was also released. While the movie is not terrible — the cinematography is evocative, and if you’re familiar with the landscape, as I am (I live adjacent) they do a fine job of capturing what it means to be set in the wild landscapes of the Inland Northwest — an area crossing over from eastern Washington to Northern Idaho.
But instead of scrupulously adhering to Johnson’s book, the movie struck me as a psy-op designed to manipulate the viewer on the issues of our day – not the issues of the 1920s. In the book, for example, a Chinaman caught stealing from the company store is attempted to be executed by a mob, but manages to escape. In the movie, he commits no crime (of course) but is summarily executed, and becomes a ghost that haunts Robert. And Grainier, after the fire, instead of being befriended by a drunk Indian with a bad habit of laying on railroad tracks, as happened in the books, is instead lifted up by a prosperous local native merchant. Magic realism is one thing. But this is so preposterous as to defy belief, especially when one considers the dominant time period being set in the early 1920s. Finally, Grainier isn’t even allowed the elevation of his enlightenment through meditation. Instead, he is lifted up by a woman. White men really cannot save themselves.
I actually enjoyed the movie as much as I’ve enjoyed any movie made in the last five years. And I find myself pondering whether I’m hallucinating these things. But that’s the thing about a good psy-op, especially one aimed at sophisticated audiences. When they had a black vigilante kill a white preacher in the movie, an absolute plot insertion with no match in the book, I was pretty sure I was being had. But the scenery was nice — I love my backyard, having dedicated an enormous amount of my life to saving it from destruction, and the movie turned into at least a watchable movie.

Maybe that has to pass for “good enough” in a time period with a collapsing film industry. But it’s still a shame. Ordinary people — even drunk Indians — can walk through life with a certain dignity that does not ascribe to Hollywood’s current morality plays. And people deserve to understand exactly how difficult life was for all the actors on the last frontier of the lower 48 states.
Where’s a cinematic fair witness when you need one?


