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To set the stage for this review, it’s significant to share some background.
When tasked with reviewing a book, I take a deliberate approach, slowing down to take notes, revisiting certain sections, and deeply engaging with the text. My reading process involves not just my eyes, but my intellect and emotions as well. Each book I encounter invites a unique relationship, which, while not always positive, is always meaningful.
In instances where I have explored multiple works by a single author, my engagement broadens to the author’s distinctive voice, recurring themes, and overall body of work. Authors like Stephen King and S. A. Cosby come to mind, but for me, Stephen Graham Jones stands out. Over the last two decades, I have encountered nearly all of Jones’ publications—including his earlier and lesser-known works, as well as what some refer to as “the pee book”—Flushboy. Titles like Growing Up Dead in Texas, Mongrels, Not For Nothing, The Last Final Girl, and the impactful The Only Good Indians have all contributed to my appreciation of his craft. Additionally, The Indian Lake Trilogy is a work I believe played a vital role in reviving the slasher genre within horror literature.
I apologize for such an extensive introduction, but I feel it is necessary to establish my credentials when I declare that The Buffalo Hunter Hunter represents a pinnacle in Stephen Graham Jones’ artistic achievements.
Set in 2012, the story begins with the discovery of a diary belonging to Arthur Beaucarne, a Lutheran pastor, hidden behind a wall. This diary, penned in 1912, becomes a vivid account of various atrocities, personal transformations, and relentless conflict. Significantly, Blackfeet culture and history are not merely background elements but are integral to the narrative, actively influencing the unfolding events. Amidst these dynamics, the narrative seamlessly blends history, themes of revenge, and supernatural elements, conveyed through the distinct voices of Beaucarne and Good Stab, a man engaging in sin confession.
When historical horror is executed thoughtfully, it can become a profound subgenre, and Jones has mastered this approach in The Buffalo Hunter Hunter. He successfully immerses readers in the year 1912, skillfully weaving through the complex tapestry of Good Stab’s life. Initially, Beaucarne emerges as an amiable narrator with a penchant for sweets, humor, and kindness. However, the introduction of Good Stab shifts the narrative into darker, stranger realms. As Good Stab recounts the bloodshed throughout his life, Beaucarne’s insights complicate the truth, presenting harsh realities that can be difficult to digest.
The narrative could have thrived on the strengths of either character alone, yet the interplay between Beaucarne and Good Stab enriches the storytelling experience. This dialogue not only propels the plot but introduces supernatural elements that augment the tension. Jones employs a versatile humor that can effortlessly transition from lighthearted quips to profound observations about the human condition. Arthur, in this work, emerges as one of the most compelling vessels for Jones’ wit and eloquence, crafting sentences that resonate and linger.
In contrast, Good Stab’s perspective offers an unflinching exploration of suffering and brutality, depicting stark realities of violence and the ritualistic aspects of his life. This juxtaposition reflects Jones’ talent in exploring complicated narratives through the eyes of diverse characters, races, and cultural backgrounds. Good Stab, a tortured soul dependent on human blood, stands in stark contrast to Arthur, a fundamentally flawed yet faith-driven man. Despite their opposing natures, Jones artfully intertwines their stories into a cohesive and riveting narrative.
Throughout his literary career, Jones has consistently produced innovative stories that blur the lines of horror. His adventurous styles, including experimental formats and explorations of wildlife—such as elk and bison—have left a lasting impact on readers. More significantly, Jones has also been a vital voice in portraying Blackfeet culture, challenging stereotypes that often oversimplify the Native American experience. In The Buffalo Hunter Hunter, he delves into historical contexts, creating an engrossing tale that reflects one of the nation’s most violent chapters.
Labeling this work as Jones’ masterpiece is not simply about its beautiful prose and intricate narrative; it signifies a culmination of his talents delivered with remarkable finesse. If he has previously dazzled us, in this book, he transcends his craft, akin to basketball great Michael Jordan achieving extraordinary feats on the court. The Buffalo Hunter Hunter is a monumental work that deserves to be read.
Gabino Iglesias is an author, book reviewer, and professor living in Austin, Texas.
Source
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