BY LARRY MCMURTRY
Paradise
Boone’s Lick
Roads: Driving America’s Greatest Highways
Still Wild: Short Fiction of the American West 1950 to the Present
Walter Benjamin at the Dairy Queen: Reflections at Sixty and Beyond
Duane’s Depressed
Crazy Horse
Comanche Moon
Dead Man’s Walk
The Late Child
Streets of Laredo
The Evening Star
Buffalo Girls
Some Can Whistle
Anything for Billy
Film Flam: Essays on Hollywood
Texasville
Lonesome Dove
The Desert Rose
Cadillac Jack
Somebody’s Darling
Terms of Endearment
All My Friends Are Going to Be Strangers
Moving On
The Last Picture Show
In a Narrow Grave: Essays on Texas
Leaving Cheyenne
Horseman, Pass By
BY LARRY MCMURTRY AND DIANA OSSANA
Pretty Boy Floyd
Zeke and Ned
THE DESERT ROSE
A NOVEL BY
Larry McMurtry
With a New Preface
SIMON & SCHUSTER PAPERBACKS
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This book is a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental.
Copyright © 1983 by Larry McMurtry
Preface copyright © 1985 by Larry McMurtry
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The Library of Congress has cataloged the
hardcover edition as follows:
McMurtry, Larry.
The desert rose.
I. Title.
PS3563.A319D41983
813’.54 83-4687
ISBN-13: 978-0-671-46143-0
ISBN-10: 0-671-46143-5
ISBN-13: 978-0-684-85384-0 (Pbk)
ISBN-10: 0-684-85384-1 (Pbk)
eISBN-13: 978-1-4391-2883-1
For Leslie,
for the use of her goat.
PREFACE
Writing a preface to a book only published a year ago seems faintly ridiculous. Once I finish a book it vanishes from my mental picture as rapidly as the road runner in the cartoon. I don’t expect to see it or think about it again for a decade or so, if ever.
If one should agree to attempt such a preface, as I have, the first necessity is to avoid all thought of Henry James, whose rich, ruminative prefaces to the New York edition constitute a model of self-criticism which has so far not been surpassed, or even approached. Those prefaces are to novelists as the Poetics are to tragedians; we have no more intelligent body of commentary on either the theory or the practice of fiction. Writing in their shadow leaves one feeling no keener than Mortimer Snerd.
John Barth observed long ago, in a fine interview, that writers, like athletes, work by trained instinct. After a game or a book they may wax eloquent about why they made such a move or struck such a stroke; but when they are in motion such decisions are seldom consciously made. They come unprompted from the training and the instincts.
In my own practice, writing fiction has always seemed a semiconscious activity. I concentrate so hard on visualizing my characters that my actual surroundings blur. My characters seem to be speeding through their lives—I have to type unflaggingly in order to keep them in sight. I have no time to refer to manuals, particularly not dense, poorly indexed manuals such as the James prefaces.
Mention of the speed with which fiction can sometimes get written is especially appropriate to a discussion of The Desert Rose, which was written in three weeks.
I had been laboring away on a long novel about the 19th-century West called Lonesome Dove. Some twelve hundred pages were in hand at the time; the narrative was not exactly stalled, but it was slowing. My characters seemed to be moving at an ox-like pace up the great plains. They still had a thousand miles to go, and, worse yet, there were two parties of them, one proceeding out of Texas, the other meandering indecisively west and north from Fort Smith, Arkansas. Would they ever meet? And, if so, would it happen in Ogallala, where I needed them to meet? I didn’t know, and in fact was growing a little bored with their slow trek over the plains. I needed a vacation.
Opportunity beckoned, as it usually does, from the West Coast. A Hollywood producer wanted to have a film script written about the real life of a Las Vegas showgirl. Would I write it, or at least go take a look? I had passed on the same project only a few months earlier, but then I hadn’t been so bored with my cowboys. I said I’d go take a look.
As it happens, I am peculiarly ill-equipped to observe the real life of a showgirl. I like to sleep at night—preferably all night. But the showgirl’s work is nocturnal. I dutifully tried to attend a few shows, but found it a heavy chore. My researches were not helped by the fact that I was allergic to something in my hotel room, probably the rug; I couldn’t breathe in my room, or stay awake outside it. After a day and a half I had not been closer than a hundred feet to any showgirl; the charms of my trail-driving novel were beginning to reassert themselves.
I had been supplied with a long list of contacts, most of whom proved uncontactable. But, in the course of ticking them off, I actually met a showgirl. She was living in comfortable retirement, and she raised peacocks. We met only briefly and mainly talked about how I might find a legendary former showgirl who had retired less comfortably than my hostess.
This legend I never found, though everyone in Las Vegas seemed to know her. Not only that, they all seemed to love her. She was said to be somewhat down on her luck; it was rumored she was working as a barmaid.
Meanwhile, I was intrigued by the peacocks. Tits and feathers were the staples of the Las Vegas shows, as they had always been. Peacock breeding as a retirement career for the beauties who had worn the feathers seemed wonderfully appropriate.
My hostess told me, as others had, that showgirls were a dying breed in Las Vegas. Showgirls are large, full-breasted women who neither sing nor dance. They are on stage to wear gorgeous if skimpy costumes and be beautiful. But fewer and fewer producers want to use them; today’s producers wanted dancers. Only one or two of the larger shows still used showgirls to any extent—the future belonged to small-breasted women who could dance.
I have always been attracted to dying crafts—cowboying is one such. It became clear that the showgirls were the cowboys of Las Vegas; there were fewer and fewer jobs and they faced bleak futures, some with grace, and some without it.
I left Las Vegas on the morning of the third day and told the movie producer I would attempt to write the film. I suggested, however, that I start with an extended treatment. Dying breeds aren’t the only thing I’m attracted to. I also like mother-daughter stories. Why not a mother-daughter story in which the daughter replaces the mother on her own stage, in the show in which she had been a star for some years? It’s the old-matador-going-down-vs-the-young-matador-coming-up motif,
except with a family twist.
I had written a number of original screenplays over the years, always with the feeling that I was going about it wrong. I work in textures, and the kind of details that bring a character to life (at least for me) seem excessive (or merely weird) when packed into a scene. They need to bob up in the flow of prose, then sink again, to live in the undercurrents. But in a film the director and the actors account for most of the undercurrents, not the writer. The screenplay is a kind of blueprint, and there are few undercurrents in blueprints.
The producer agreed to let me try an extended treatment, and before I had written a paragraph I knew I was writing a novel. Harmony’s voice won me at once; I felt I had rarely, if ever, made a happier choice of point of view.
Finding Harmony was a great relief to me, in as much as I had just spent nearly ten years writing books that I didn’t really like as I wrote them, day to day. I did like writing Harmony and her friends, and was rather sorry when she strolled out of hearing in Reno three weeks later.
I believe the energy that enabled me to write the book so rapidly was the result of the switch from Lonesome Dove, a long, third-person novel about men. The switch from third person to first, if you like the voice you switch into, can itself be energizing.
I didn’t anticipate that Pepper would be such a monster. It was hardly just that she should find someone as considerate as Mel, but there you are, for now. Pepper is very young, and her story deliberately left unfinished. Sooner or later, rainy days come in one’s artistic life, and when they arrive it is nice to have a character available in whom one’s interest is not exhausted.
I’m happy, though, to have spent three weeks with Harmony and Jessie and Gary, Myrtle and Maude and Wendell. One of the nicest things that can happen is to have one’s characters teach you something: that optimism is a form of courage, for example. It’s Harmony’s theme, not one she sings, just one she practices.
In retrospect I’m glad I never found the legendary showgirl who had drifted down. If I had found her, I wouldn’t have had to invent her, and Harmony and her optimism would not have graced my life for those three weeks.
—Larry McMurtry
October 1984
I
HARMONY IS driving home, eastward out of Las Vegas, her spirits high, her head a clutter of memories. Harmony loves to remember bits of her life, it makes her feel well, anyway, it’s all been interesting. One of the memories that pops in is something Ross used to say, which was that they ought to call Las Vegas Leg City, or else Titsburg. Ross was always thinking up funny names for things, he had kept her laughing right up until the time they had Pepper, plus about a year more, and then she and Pepper took him down to the bus station behind the Stardust one day, he was going to check on a job doing lights for a show up in Tahoe, and had sort of just never come back, although Pepper was as cute a little girl as anyone could want and Harmony herself at the time had been said by some to have the best legs in Las Vegas and maybe the best bust too, although that was long before she had ever done topless, so that only Ross and a few of her old boyfriends really knew the whole story there.
Ross did think she was great-looking though, there was no doubt of that, and their sex life had been okay—maybe not va-boom-karoom, which was the phrase Gary always used about people who had a big attraction for one another—but definitely okay, and they had almost had enough money to make a down payment on a house with a swimming pool. Didn’t happen, Pepper had to take swimming lessons down at the Stardust pool with the other kids whose parents worked in the show.
But then Harmony had always sort of known that legs and a sex life and a little girl and a house with a swimming pool hadn’t meant that much to Ross—he had told her right off he liked to change lives once in a while and he was such a good light man he could always get work.
It was just that Ross could always make her laugh, that had been the cute thing about him, she still smiled when she thought of Ross although he had started going bald and wasn’t even thirty when he left. She didn’t mind his going so much, Ross should get to change lives if that was what he liked, and he did send money, not too regularly but sometimes he would send a lot if he had a run at the craps tables, he had never been unkind, so if he liked to change lives that was okay. The only sad part was that Pepper was beautiful from the time she was about three, it seemed kind of wrong that Ross wasn’t getting to see it. By the time she was five Pepper could sing well enough that she could have probably even got on the radio if Harmony had ever had time to investigate that angle, somehow she never did. Once in a while she would dream that Pepper did sing on the radio and would maybe dedicate a song to her Daddy and Ross would hear it, that would be a nice thing for him. He was up in Reno, still working lights.
But then dreams, they weren’t too real—or maybe real but not too likely to happen. Pepper had got more interested in dancing than singing, although she still sang beautifully, Harmony thought—others too, particularly Myrtle, who owned the other half of the duplex they lived in.
Harmony had always wanted to sing—it was something she envied Pepper—but she had just never had much of a voice. The one time she auditioned people couldn’t keep from laughing, after all her name was Harmony but she couldn’t sing, who could blame them for laughing? “Harmony, accept your fate, just be beautiful,” Bonventre said—that was at the Dunes and he was a young producer then. Still, once in a while she sat on the back steps and sang to her peacocks, they were about the only audience she could get to listen, them and Myrtle’s goats.
Meanwhile, driving out Sahara Avenue, as the night was into its finale, Olivia Newton-John sang to her, on the car radio, a song from Grease. Harmony had loved the movie, plus she truly did love driving home just as the day was beginning. Already dawn had sketched the outline of the mountains to the east in light gray. Usually after the show she and Jessie and Gary would go sit in the little keno bar at the Stardust and drink beer and wind down for a couple of hours. Mainly it was just listening to Gary talk, he was the wardrobe manager and if there was anybody who could talk more than Gary Harmony didn’t know who. Gary was an old friend, plus he had his own point of view, sort of an interested-in-everything point of view.
Jessie liked him a lot and once confided in Harmony that she still hoped Gary would stop being gay and fall in love with her, which was a hopeless wish of course, Gary couldn’t stop being gay just for Jessie’s sake, but he did spend most of his nights sitting around talking to two showgirls rather than hitting the discos or having dates, he was an unusual man, Gary, unusual for sure, if you were depressed or in any trouble there was no one better to talk to, not in Las Vegas anyway.
But usually it was Jessie who got depressed, and it was happening more and more lately. Even if the specific depression was over nothing worse than that one of the dancing nudes had told her her ass was getting dimpled, something normally bitchy like that, Jessie would just about sink out of sight she would be so unhappy. She would sit right in the keno bar and cry, with her stage makeup on, then she would just fade out and go to sleep with her head on the table, with Harmony and Gary both trying with might and main to cheer her up.
“It’s the end, I know it is,” Jessie always said, when she was sinking out of sight.
“No it isn’t!” Gary would insist, “it’s just that that little French girl told you your ass was dimpled. She certainly has no room to talk, her hips are wide enough that she could have had about five kids. Besides, she uses body makeup, which I hate because it turns the costumes orange and if it ever gets on the feathers you can just forget that costume, those feathers won’t come clean.”
By that time Jessie would usually already be asleep anyway, Gary’s case against the French girl was mostly overkill but body makeup was one of his pet peeves and he went through his little tirade anyway. Then he would get real concerned about Jessie and drive her home to make sure she didn’t have a wreck.
Once in a while Harmony let him drive her home too, n
ot because she was usually tired or depressed or anything but mainly because it gave Gary a chance to see Pepper, he admired her so and thought she was so beautiful and talented.
Pepper loved it when Gary came, she thought he was the most knowledgeable man in the world and they would chatter away about clothes and hairstyles and makeup and dancing all through breakfast. Whereas Pepper would just about never have even a how-do-you-do for any of Harmony’s boyfriends, no matter how sweet they were or how nice they tried to be to her, except with Denny it was not just ignoring it was kind of more like hate, Denny wasn’t a guy you could just ignore, he was something but probably sweet wasn’t a good word choice for what Denny was.
Gary always brought Pepper beautiful clothes for her birthday, or sometimes just if he was coming out on Sunday or something he would bring Pepper clothes and she would model them for him. She had started modeling teen fashions at Goldwater’s when she was only ten—mainly she just liked trying on the clothes, the actual modeling bored her. Even real young, Pepper thought of herself as a dancer, she didn’t really care for modeling apart from the makeup and getting her hair done and stuff.
The only thing not so very great about Pepper talking clothes so much with Gary was that it made her more critical where Harmony herself was concerned. Pepper did have the sense that she sort of absolutely knew what was good when it came to clothes—as she got older it got so Harmony could just about never find anything to wear that Pepper approved of. Harmony thought she dressed all right, after all she had always been thought to be one of the most glamorous showgirls in Las Vegas, she got to do all the publicity shots for the Stardust and met all the celebrities that came to town if management wanted them to meet a showgirl, and yet she could not seem to dress well enough to please Pepper.
“Couldn’t you just buy a plain white blouse sometime?” Pepper had said only the week before—Harmony had been cleaning out her closets. “Every single blouse you’ve got is tacky.”
Harmony didn’t pay the remark any attention at the time, but later it came back to her when she was in a low mood anyway because of some things Denny said when he was drunk, and those things plus Pepper thinking her blouses were tacky were too much and she went out and sat under the little lawn umbrella and cried so hard she couldn’t see the peacocks. Although it was silly, Pepper was just sixteen, she didn’t really know everything there was to know about clothes even if Gary did brag on her taste all the time. It was just that the word had been wrong—tacky, it was the word that was hurtful, it was the one thing Harmony had always tried to avoid being and if your own little girl said it about you then it had to arouse some doubts. Though mainly it was just that Pepper always stuck to basic colors, she was very insistent about it, whereas Harmony liked clothes that were a little more unusual, she liked gold blouses or maybe blouses with a little purple in them, something you’d notice.