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孝械褏邪褋 1849 褉芯泻褍. 袛芯 斜褍写懈薪泻褍, 写械 屑械褕泻邪褦 褌褉懈薪邪写褑褟褌懈褉褨褔薪懈泄 袉谢邪泄袦邪泻-袣邪谢谢芯褍, 胁写懈褉邪褦褌褜褋褟 蟹邪谐褨薪 泻芯屑邪薪褔褨胁, 褟泻褨 胁斜懈胁邪褞褌褜 泄芯谐芯 褉褨写薪懈褏, 褋锌邪谢褞褞褌褜 屑邪泄薪芯, 邪 泄芯谐芯 褋邪屑芯谐芯 蟹邪斜懈褉邪褞褌褜 褍 锌芯谢芯薪. 袟邪 褌褉懈 褉芯泻懈 卸懈褌褌褟 褋械褉械写 褨薪写褨邪薪褑褨胁 褏谢芯锌械褑褜 锌褉懈锌邪写邪褦 写芯 薪懈褏 写褍褕械褞 褌邪 屑邪泄卸械 蟹邪斜褍胁邪褦 锌褉芯 褋胁芯褦 锌芯褏芯写卸械薪薪褟. 袗谢械 泻芯谢懈 泄芯谐芯 锌谢械屑鈥櫻� 胁懈薪懈褖褍褦 械锌褨写械屑褨褟, 袉谢邪泄 锌芯胁械褉褌邪褦褌褜褋褟 写芯 斜褨谢懈褏鈥�
袞芯褉褋褌芯泻褨褋褌褜 褨 锌褉邪谐屑邪褌懈蟹屑 袉谢邪褟 胁褨写斜懈胁邪褞褌褜褋褟 胁 写芯谢褟褏 锌褉械写褋褌邪胁薪懈泻褨胁 锌褉懈泄写械褕薪褨褏 锌芯泻芯谢褨薪褜 袦邪泻-袣邪谢谢芯褍. 袣芯褏邪薪薪褟, 褔械褋褌褜, 写褨褌懈 鈥� 褍褋械 胁褨写写邪褦褌褜褋褟 薪邪 锌芯褌邪谢褍 邪屑斜褨褑褨褟屑, 泻芯谢懈 褑褟 褉芯写懈薪邪 褋褌邪褦 芯写薪褨褦褞 蟹 薪邪泄胁锌谢懈胁芯胁褨褕懈褏 褍 孝械褏邪褋褨. 袗谢械, 褟泻 褨 胁褋褨 屑芯谐褍褌薪褨 写懈薪邪褋褌褨褩, 褑褟 褋褨屑鈥櫻� 泻芯谢懈褋褜 褌邪 泄 屑褍褋懈褌褜 蟹褨褌泻薪褍褌懈褋褟 蟹 薪邪褋谢褨写泻邪屑懈 褋胁芯谐芯 胁懈斜芯褉褍.

576 pages, Hardcover

First published May 28, 2013

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About the author

Philipp Meyer

12books1,135followers
Philipp Meyer's novel, American Rust, was an Economist Book of the Year, a Washington Post Top Ten Book of 2009, a New York Times Notable Book, A Kansas City Star Top 100 Book of 2009, and an Amazon Top 100 Book of 2009.

Philipp Meyer grew up in Baltimore, dropped out of high school, and got his GED when he was sixteen. After spending several years working as a bike mechanic and volunteering at a trauma center in downtown Baltimore, he attended Cornell University, where he studied English. Since graduating, Meyer has worked as a derivatives trader at UBS, a construction worker, and an EMT, among other jobs. His writing has been published in McSweeney's, The United States of McSweeney's, The Best of McSweeney's 11-20, Esquire UK, The Iowa Review, The Independent (UK), Salon.com, and New Stories from the South. From 2005 to 2008 Meyer was a fellow at the Michener Center for Writers in Austin, Texas. He splits his time between Texas and upstate New York.

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Profile Image for Jeffrey Keeten.
Author听6 books251k followers
May 18, 2020
鈥濃€橧 don鈥檛 have to tell you what this land used to look like,鈥� he said. 鈥楢nd you don鈥檛 have to tell me that I am the one who ruined it. Which I did, with my own hands, and ruined forever. You鈥檙e old enough to remember when the grass between here and Canada was balls high to a Belgian, and yes it is possible that in a thousand years it will go back to what it once was, though it seems unlikely. But that is the story of the human race. Soil to sand, fertile to barren, fruit to thorns. It is all we know how to do.鈥欌€�



The making of the West, or in my opinion the unmaking of the West, can best be described with the word eradication. Numerous species of animals, but most noticeably the wholesale slaughter of the massive buffalo herds, are part of the agenda to clear the way for further exploitation. The Indians are pesky and do not go gentle into that good night, but eventually they too are decimated by bullets and disease to the point that the last few Indians, like survivors from a post-apocalyptic event, are herded onto reservations by these alien white devil invaders where, if they are lucky, they can manage to drink themselves to death before they starve. The grass is eaten down by cattle to the point that it will never be as majestic as when the Spanish conquistador Coronado made his way across the prairie. Sodbusters come in after most of the blood has been spilled, to till up the soil, which eventually leads to the Dust Bowl in the Dirty Thirties.

Hubris, lots of hubris.

The story of the West is not an uplifting experience. Sure, there are great stories about survival against the elements, or the bear BAR attack that Hugh Glass was too stubborn to let kill him, or the story of men who stand up to those who are taking advantage of those weaker than themselves. It is about beating the odds with some combination in equal measure of skill and luck.

We can romanticize the making of the West and ignore the sordid details, or even turn those rather bloody details into something more akin to a crusade to free the land from the infidels. It depends on a person鈥檚 capability of concocting elaborate, but well edited, fantasies, not that there aren鈥檛 things to admire in these people who put their lives on the line to find a better life for themselves and those who will come after them.

The center of this universe is Eli McCullough and his descendents. They are doomed to live in his shadow. His life is not easy; in fact, it starts out so dire that I鈥檇 have laid good odds this was one man who was not going to live long enough to make any impact on history.

I鈥檇 have been wrong.

Eli watches his mother and sister be raped and butchered by Comanches. He watches his brother die by clubbing. He is spared because he is young enough to be integrated into the tribe and is adopted by Toshaway. 鈥濃€淏ut the whites do not think this way-- they prefer to forget that everything they want already belongs to someone else. They think, 鈥淥h I am white, this must be mine.鈥� And they believe it, Tiehteti. I have never seen a white person who did not look surprised when you killed them.鈥� He shrugged. 鈥橫e, when I steal something, I expect the person to try to kill me, and I know the song I will sing when I die.鈥欌€�



Now, what is interesting is, as Eli gets older, we hear him paraphrasing Toshaway鈥檚 philosophy to justify is his own actions. 鈥漈he Garcias got the land, by cleaning off the Indians, and that is how we had to get it. And one day that is how someone will get it from us. Which I encourage you not to forget.鈥� He is fully aware of how temporary his hold is on anything he owns and knows that no one owns anything that they didn鈥檛 in some form or fashion take from someone else. I鈥檇 go into how those rich people that Americans seem to venerate so much became rich, but I think we all know that story, and it dovetails perfectly with Eli鈥檚 philosophy about ownership.

Toshaway calls Eli Tiehteti, which is his Indian name meaning pathetic little white man. What is interesting is the Comanches may have their names changed many times in their lifetime to better fit who they have become. There is a woman who becomes Hates to Work. A captive German girl is called Yellow Hair Between the Legs. My favorite though is the poor bastard who is called Cock That Stays Hard. If they were labeled with a name they didn鈥檛 like, they would just have to work diligently to become known for something more distinguished.

The book spans seven generations, but there are three main characters who we spend the most time with: Eli McCullough, his son Peter, and Eli鈥檚 great-granddaughter Jeanne Anne. Peter is the most affected by living in the shadow of his now iconic and famous father. He is a more sensitive soul who wants to live a more principled life than the one carved out by his father. 鈥滻 went upstairs to my office, lay in the dark among my books--the only comforting thing I have. An exile in my own house, my own family, maybe in my own country.鈥� He says country, but what he really means is Texas with a larger than just capital T. His isolation increases as his sons identify more with Eli and embrace his no holds barred approach to holding onto and acquiring everything one can. Peter falls in love with a woman with the wrong last name...Garcia, which brings him into more conflict with his father.

Jeanne Anne ends up owning the bulk of the estate. McCullough men keep dying in wars, misadventure, and some just wander off to make their own way in the world. It isn鈥檛 easy being a woman in a man鈥檚 world. Like Peter, she feels her isolation keenly. 鈥漃eople made no sense to her. Men, with whom she had everything in common, did not want her around. Women, with whom she had nothing in common, smiled too much, laughed too loud, and mostly reminded her of small dogs, their lives lost in interior decorating and other people's鈥� outfits. There has never been a place for a person like her.鈥�

There are so many astute quotes. The book is frankly a quote machine. One of my favorites is when Eli makes the observation that his employees have become caricatures of themselves. The frontier had not yet settled when Buffalo Bill began his shows and the Colonel always complained about the moment his cowboys began to read novels about other cowboys; they had lost track of which was more true, the books or their own lives.鈥�



This is an epic about monumental pioneers who are revealed to us by the deft pen of Philipp Meyer as real people with faults and goodness in equal measure. I think it is interesting how little these people from each generation really know about each other. Strengths are seen as weaknesses, and weaknesses are perceived as strengths. It makes me think about how little I really know about my father, my grandmother or any of my relatives. What do my kids really know about me?

Tonight, April 8th, 2017, AMC is debuting the series based on this book. I plan on watching it and will be 鈥漰acking my gun loose.鈥� Here is the trailer:

鈥滻 content myself to think that one day we will all be nothing but marks in stone. Iron stains of blood, black of our carbon, a hardening clay.鈥�

Our ownership of anything is temporary. Our riches, in the scope of history, are almost made irrelevant soon after amassing them. As Jeanne says regarding heaven: 鈥淭rump, Walton, Gates, herself; they would be no more interesting than the garbagemen.鈥� Frankly, I find them terminally boring now.

A balanced, real view of the West that I highly recommend.

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Profile Image for Will Byrnes.
1,357 reviews121k followers
April 13, 2017
HOW THE WEST SOUTHWEST WAS WON OVERRUN
On the ranch they had found points from both the Clovis and the Folsom. For the eight thousand years between Folsom and the Spanish, no one knew what happened; there had been people here the whole time, but no one knew what they were called. Though right before the Spanish came there were the Mogollan and when the Spanish came there were the Suma, Jumano, Manso, La Junta, Concho and Chisos and Toboso, Ocana and Cacaxtle, the Coahuiltecans, Comecrudo鈥ut whether they had wiped out the Mogollon or were descended from them, no one knew. They were all wiped out by the Apache. Who were in turn wiped out, in Texas anyway, by the Comanche. Who were in turn wiped out by the Americans.

A man, a life鈥攊t was barely worth mentioning. The Visigoths had destroyed the Romans, and themselves been destroyed by the Muslims. Who were destroyed by the Spanish and Portuguese. You did not need Hitler to see that it was not a pleasant story. And yet here she was. Breathing, having these thoughts. The blood that ran through history would fill every river and ocean, but despite all the butchery, here you were.
The Son is a magnificent family saga, covering two hundred years of Texan, but more significantly American history. Do not be fooled into thinking this is just a book about the Longhorn state. In the same way that (also set in Texas) took a specific day to stand for an entire period, The Son takes a much larger swath but remains a stand-in for the nation as a whole. A ranching and oil dynasty rises in parallel with the USA rising as a global power.

Items covered include the settlement of Texas by Americans, Indian Wars (sometimes from the perspective of the Indians), The Civil War, WW I, WW II, the Depression. Economic shifts, rise of oil in international importance, significance of corruption in government, impact of increasing difficulty of drilling in the USA and rise of the Middle East as the world鈥檚 major source of oil, including some economic intrigue involving the use of insider information. The misuse of the land is raised, as is the complicated relationships between residents of Mexico, Texas, and some who traveled both sides of the border.

Meyer splits the task of looking at different times in American history among three members of the McCullough dynasty. Eli McCullough is the patriarch of this clan, born not on the Fourth of July, but on the Second of March, 1836, otherwise known as Texas Independence Day. He is, literally, the first Texan. (Well, as with the US Declaration of Independence, it was not completely Ok鈥檇 until the next day, but who鈥檚 counting?) and is as large a character as the state itself. We meet him when he is 100 years old, in 1936, looking back on his life and times, (a la Jack Crabb in Thomas Berger鈥檚 Little Big Man) and some bloody times they were. Early settlers into what was still Mexico overwhelming the locals with numbers and guns. Bloodshed aplenty as a new population displaces current residents, whether Mexican citizens or one of the many Indian tribes in the area. Eli is captured by a Comanche raiding party that kills and abuses most of his family. Later he becomes a Texas Ranger, as a substitute for criminal prosecution, making the Rangers remind one of the French Foreign Legion.

The second perspective is that of Jeanne Anne McCullough, Eli鈥檚 great-granddaughter. We meet her at age 86, injured, on the floor of her home in 2012, and are treated to her recollections as well. She is the primary female character here, a crusty old bird who is also shown in softer light earlier in her life. But while softer, Jeanne was still tough even as a kid, eager to cowgirl up, take on tasks usually reserved for men, and was unable and unwilling to adapt to the very different expectations of northeastern refinery. Adaptation, and recognizing change, seeing the truth in front of her, or not, figures in her journey. She will use ill-gotten knowledge for personal gain some day.

Finally there is Peter, born in 1870, one of Eli鈥檚 sons, and Jeanne鈥檚 grandfather. Peter is the superego to Eli鈥檚 id. He struggles with what he sees as excessive violence in which his father revels, and tries as best he can to act in a moral way. I found Peter鈥檚 character to be the most real of the three. Constantly having to manage moral as well as physical conflict. He is the romantic of the crew. You will love him.

We see all three come of age in very different ways. Eli is taken captive by raiding Comanches as a thirteen-year-old We see Jeanne wanting to be who she is but struggling against the bias of the age that preferred its women less hardy, adventurous and determined. We see Peter struggling to reconcile his family and community responsibilities as a young man with the cruelty of his father and the racist townspeople determined to drive out the other, who happen to be people he knows, respects and even loves.

There is enough carnage in The Son to make fans of Cormac McCarthy lock and load. One particularly brutal event is nothing less than anti-Mexican pogrom. And there is enough political inspection to make fans of Steinbeck perk up when Eli says things like:
let the records show that the better classes, the Austins and Houstons, were all content to remain citizens of Mexico so long as they could keep their land. Their descendants have waged wars of propaganda to clear their names and have them declared Founders of Texas. In truth it was only the men like my father, who had nothing, who pushed Texas into war.
Meyer also notes several instances in which the victors write history that is distinctly at variance with how events actually occurred.

There is a lot in here about how change sweeps in and the present is always in the path of a rampaging future, whether one is talking about wilderness being replaced by farming and ranching, working the land being replaced by digging through it, or one population displacing another. Meyer highlights a major theme of the book when the last Comanche chief is found to be carrying a copy of History of the Rise and Fall of the Roman Empire.

Meyer takes on some regional stereotypes as well.
There is a myth about the West, that it was founded and ruled by loners, while the truth is just the opposite; the loner is a mental weakling, and was seen as such, and was treated with suspicion. You did not live long without someone watching your back and there were very few people, white or Indian, who did not see a stranger in the night and invite them to join a campfire.
The Teggs-us Rangers of the mid 18th-century would seem to have had a lot more in common with The Dirty Dozen than they might have had with Seal Team Six. It is also clear that there has been little change in the fact that governments often want services but are not always eager to actually pay for them. The corruption of those in power seems constant across the time-scape here.

Wandering notions. We are always on the lookout for possible connections to the classics. There are some here but they do not seem central. The Eli of the bible lives to 98 and has a son named Phineas. This one lives to 100 and also has a son named Phineas. One might see in the Comanche raids here a link to the Philistine raids of the earlier time. Also Eli was cursed by God that his male descendants would not see old age. This is not entirely the case here, but the death rate is alarmingly high for this Eli鈥檚 progeny through the generations. There is a Ulysses in this story, who, like his namesake, goes on a quest. And Eli is referred to in this way as well, in Peter鈥檚 diaries:
I began to think how often he was home during my childhood (never), my mother making excuses for him. Did she forgive him that day, at the very end. I do not. She was always reading to us, trying to distract us; she gave us very little time to get bored, or to notice he was gone. Some children鈥檚 version of the Odyssey, my father being Odysseus. Him versus the Cyclops, the Lotus Eaters, the Sirens, Everett, being much older, off reading by himself. Later I found his journals, detailed drawings of brown-skinned girls without dresses鈥�.My assumption, as my mother told us that my father was like Odysseus, was that I was Telemachus鈥ow it seems more likely I will turn out a Telegonus or some other lost child whose deeds were never recorded. And of course there are other flaws in the story as well.
But ultimately, I do not think there is a core classical reflection at work here, just a bit of condiment for the large meal at hand. In an interview with the LA Times, Meyer cites among influences Steinbeck, Joyce, Woolf and Scottish writer James Kelman. I am sure those with a greater familiarity with works by those authors will find many connections in The Son that my limited knowledge prevented me from seeing.

The Son is Meyer鈥檚 second novel, well, second published novel anyway. He wrote a couple before American Rust was published in 2009. He wrote that while in an MFA program in Austin. He has it in mind that this book, which was initially called American Son would form the second volume of a trilogy. It is even more impressive when one considers that Meyer was born in Baltimore, in a neighborhood known more for John Waters films than Indian wars and oil booms.

Family sagas can be fun reads, long, engaging and hopefully educational. They can, of course, be over-long, post too many characters to keep track of and become tedious. Sometimes, though, they exceed all expectations and levitate above the crowd in the genre due to the craft of their creation, the quality of their characters, and the depth of their historical portraits. Some, like Gabriel Garcia Marquez鈥檚 One Hundred Years of Solitude, Margaret Mitchell鈥檚 Gone with the Wind, and Pearl S. Buck鈥檚 The Good Earth rise to the level of literature. The Son also rises.

The trade paperback edition came out on January 28, 2014

TV mini-series - April 9. 2017

================================EXTRA STUFF

5/21/13 - Rave from Ron Charles of the Washington Post

础耻迟丑辞谤鈥檚



2010 LA Times with Meyer

5/29/13
Meyer was yesterday on the WNYC Leonard Lopate program - definitely worth a listen

6/20/13 - Janet Maslin's NYTimes review,

12/16/13 - The Son was named one of the books of 2013 by Kirkus

4/14/14 - The Son was one of three finalists for the Pulitzer
Profile Image for Nick.
172 reviews51 followers
August 7, 2013
I'm really dumbfounded what happened here. A cursory glance at this and I'd expect this to rank high on an all time list: it's a huge sweeping multigenerational epic, covering huge swaths of American history; it's a postmodern tale of the American West replete with blood lust, scalp-hungry marauding Indians, vigilante ranchers, and oil barons. It's socially and politically subversive, in that it both challenges how frontiersmen confronted race and privilege as well as exposing America's less than honorable methods of procuring land and fulfilling Manifest Destiny.
So much potential. While the bones of the story kept me reading, the writing felt hackneyed, lacking elegance, lacking rhythm, and lacking a distinct voice. The whole of the novel 'told' the reader the story rather than 'showing'. In my experience, novelists that tackle the American West should have the requisite rhythm to mirror the subject. And perhaps that is expecting a bit much, but the lack thereof made reading this almost a chore. And while it was clear Meyer did his research, not all of said research was completely seamlessly integrated. I say that because I noticed he did his research, rather than it simply buoying the story.
Profile Image for Matt.
1,020 reviews30.3k followers
March 26, 2020
鈥淎 man, a life, it was barely worth mentioning. The Visigoths had destroyed the Romans, and themselves been destroyed by the Muslims. Who were destroyed by the Spanish and the Portuguese鈥I]t was not a pleasant story. And yet here she was breathing, having these thoughts. The blood that ran through history would fill every river and ocean, but despite all the butchery, here you were鈥︹€�
- Phillip Meyer, The Son

There鈥檚 no way I鈥檓 going to call this the great American novel. I would have to define what that meant, and I鈥檇 have to support it, and then I鈥檇 have to argue with everyone trying to convince me of Moby Dick鈥檚 essential worth. No, we鈥檒l leave that to the English majors of the world.

Even if there is such a thing as the great American novel, Philipp Meyer鈥檚 The Son would not grab that ring. That requires the test of time.

It is, however, an instant classic. More specifically, it is a great American novel. Stress the American. Its themes and tropes are quintessentially American: part captivity narrative; part conqueror鈥檚 arc; part rags-to-riches. The main characters 鈥� the scion of the McCullough dynasty and his heirs 鈥� embody the American character, both mythological and real: courageous, self-reliant, industrious, violent, moralizing, hypocritical, and endlessly rationalizing.

It鈥檚 the story of how America came to be, as well as the story of how Americans came to see ourselves.

Also, it鈥檚 beautifully written and gloriously fun to read. Things that are also important in a classic. Or so I tried to convince my English teachers, to no avail.

The Son chiefly follows three members of the McCullough family: Eli McCullough, a famed Texas Ranger turned rancher turned oil man; his son, Peter, who struggles in his father鈥檚 violent shadow; and Jeannie, Eli鈥檚 great-granddaughter, who shares many traits with Eli despite a different gender and time-period.

The stories of each of these characters is told in chapters devoted solely to them. The individual chapters unfold chronologically, following their own arc, but the timeline as a whole twines in and out. That is, Eli鈥檚 chapters, which run from the 1830s to the 1860s, are interspersed with Peter鈥檚 chapters, which mostly takes place in 1917, and Jeannie鈥檚, which ranges from 1926 to the 1980s. (There is overlap, of course, such as when Eli shows up in Peter's chapters. But even when that happens, it is peripheral, since the chapters stick close to their chosen character).

Each of these character-chapters are told in a different style. Eli鈥檚 story is told in the first-person, from the point-of-view of an aged Eli giving a recording for the WPA. Peter鈥檚 tale unfolds as a series of diary entries. Jeannie鈥檚 chapters are presented in the third-person limited perspective; when we first meet her, she is an old woman who has fallen on the floor and can鈥檛 get up. As she lays there, she looks back on the momentous events of her life.

(The conceit for Eli鈥檚 and Peter鈥檚 stories are kind of ridiculous. I doubt that Eli, a staunch opponent of Franklin Roosevelt, would have deigned to participate in a program that was one of the centerpieces of the New Deal. Even if he had, he wouldn鈥檛 have gone into the murderous detail that he does. The same with Peter and his diary. Does anyone write long pages of dialogue in their diaries? No, of course not. Still, this novel is so good that I forgive it鈥檚 somewhat silly storytelling mechanisms).

Of the three separate plotlines, Eli鈥檚 is the most vivid and gripping. It begins in 1849, on the eve of a sudden Comanche raid on his family鈥檚 homestead. The lead-up to the massacre is as tense and unforgettable as anything in The Searchers. The massacre itself is a terrifying explosion of violence that is masterfully effective in mixing the graphic with the discreet:

[M]ost of the Indians were standing looking at something on the ground. There was a white leg crooked in the air and a man鈥檚 bare ass and buckskin leggings on top. I realized it was my mother and by the way the man was moving and the bells on his legs were jingling I knew what he was doing to her. After awhile he stood up and retied his breechcloth. Another jumped right into place. I had just gotten to my feet when my ears started ringing and the ground came up and I thought I was dead for certain鈥 while later I heard noises again. I could see the second group of Indians a little farther down the fence but now I could hear my sister鈥檚 voice whimpering. The Indians were doing the same to her as my mother鈥�


Young Eli is taken captive by the Comanche. Eventually, he is adopted into the tribe, taking quickly to their way of life. Slowly, the Comanche, who first appear as shadows and demons during their midnight raid, are revealed as people. Eli鈥檚 adoptive father, Toshaway, is far more important to Eli than his biological father ever was.

Eli鈥檚 time with the Comanche is this novel鈥檚 great achievement. The research that went into the evocation of their vanished way of life is amazing (I wish Meyer had included a bibliography, or at least a mention of the books he used).

Just as great an accomplishment are his Comanche characters. In a book that doesn鈥檛 have a lot of space to devote to secondary characters, Toshaway, Nuukaru, and Escute make lasting impressions. Their profane dialogue, studded with f-words and detailed sexual banter, sounds a bit anachronistic. But it also sounds like the way friends talk amongst themselves. Instead of Indian characters who are either inhuman savages or noble gamekeepers (the Dances With Wolves dichotomy), speaking with a stilted, passive-voiced oratorical style, you get Indian characters who are simply human.

(It bears repeating: I absolutely loved every part of Eli鈥檚 interactions with Toshaway, Nuukaru, and Escute. It is impressive writing. More than that, it is refreshing, especially given the treatment of the Comanche in even modern histories. For example, S.C. Gwynn, in Empire of the Summer Moon, describes them in near-barbarous terms, conjuring an image of Stone-Age cave-dwellers with only lower-order functioning).

Everything about Eli鈥檚 early story is essential, dealing as it does with the thin line between life and death. Against this fundamental drama, the Peter and Jeannie chapters necessarily suffer by comparison.

Of the two, I enjoyed Jeannie鈥檚 storyline the best. It took awhile for me to become invested, but Meyer ultimately provides her with two or three or four beautiful vignettes that efficiently and effectively describe the course of her life. Especially memorable is Jeannie鈥檚 short-lived time at an Eastern prep school. There, a Texas ranch girl among preppy bluebloods, Jeannie undergoes a less violent, mirror-twinned version of her great-grandfather鈥檚 captivity.

Peter鈥檚 story worked the least. The reason, I suppose, is that Peter is saddled with the weight of being the moral compass of the McCullough family. This makes him a good guy but also a wet blanket. His chapters take place during a time of high tension on the Tex-Mex border, when America almost went to war with Mexico. He is witness to a brutal confrontation between his family and a neighboring ranch owned by a man named Pedro Garcia. The climax to this neighborly squabble ultimately defines the brooding, philosophical-minded Peter.

About half-way through The Son, I began to wonder if Meyer hadn鈥檛 shot his bolt early on. Eli鈥檚 opening act, the massacre of his family, his captivity, his transformation into the Comanche warrior Tiehteti, are so vital and breathless, that they couldn鈥檛 possibly be sustained. However, despite a drop in dramatic urgency, the novel itself never falters. The three interweaving plot threads all inform each other: in one chapter, a character is alive and young; in the next, he or she might be old or a ghost, but still resonating. There is an incredible cumulative effect created by Meyer鈥檚 framework.

The Son weighs in at around 550 pages. Not short, but certainly not terribly long, either. Especially not for a canvas this large. Meyer鈥檚 creations could easily have expanded into a book the size of War and Peace (and I would have gladly read every page). Despite the relative brevity, the unfilled spaces in the lives of these characters, The Son achieves almost perfect balance. I thought about these fictional people long after I finished the novel. It鈥檚 ending 鈥� especially the last lines 鈥� are haunting.

There are so many comparisons to be made to other great works. If I were being pithy, I could say that The Son has a bit of the stark violence of Blood Meridian or In the Rogue Blood; the elegiacal tinge of Lonesome Dove; and a splash of Dallas as viewed through the prism of the Hatfield and the McCoy鈥檚.

Really, though, it鈥檚 a damn fine American novel telling a thoroughly American story.

I鈥檝e read The Son several times since first cracking the cover, and in time, I think I might have to change the opening lines of this review. In time, this might be the great American novel.

At least if I get the vote.
October 22, 2018
芦螣 螕喂慰蟼禄, 蟿伪喂蟻喂维味蔚喂 蟽蟿慰蠀蟼 慰蟻喂蟽渭慰蠉蟼 蟿蠈蟽慰蠀 蟿慰蠀 苇蟺慰蠀蟼, 蠈蟽慰 魏伪喂 蟿慰蠀 伪蟺蠈位蠀蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螆谓伪蟼 蟺慰位蠉蟿喂渭慰蟼 位委胃慰蟼 蟺慰位蠀蟺蟻喂蟽渭伪蟿喂魏萎蟼 纬蟻伪蠁萎蟼 渭蔚 渭喂伪 未蠉谓伪渭畏 蟺慰蠀 味蠅谓蟿伪谓蔚蠉蔚喂 蟿慰蠀蟼 渭蠉胃慰蠀蟼 魏伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 韦苇尉伪蟼, 魏伪胃蠋蟼 魏伪喂 蟿畏谓 伪渭蔚蟻喂魏伪谓喂魏萎 喂蟽蟿慰蟻委伪.

螚 蟿蔚位蔚喂蠈蟿畏蟿伪 蟿慰蠀 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 苇纬魏蔚喂蟿伪喂 魏蠀蟻委蠅蟼 蟽蟿慰 纬蔚纬慰谓蠈蟼 蟿慰蠀 伪蟺苇蟻喂蟿蟿慰蠀 渭蔚纬伪位蔚委慰蠀 蟿慰蠀. 螝维胃蔚 蟺蟻蠈蟿伪蟽畏, 蟺伪蟻维纬蟻伪蠁慰蟼, 蠂伪蟻伪魏蟿萎蟻伪蟼, 喂蟽蟿慰蟻喂魏萎 伪谓伪蠁慰蟻维, 蔚委谓伪喂 渭喂伪 慰位慰味蠋谓蟿伪谓畏 伪蟺蔚喂魏蠈谓喂蟽畏, 蟺喂蟽蟿蔚蠀蟿萎, 蟽魏位畏蟻维 伪位畏胃喂谓萎, 蔚蟺喂尾位畏蟿喂魏萎 魏伪喂 蠀蟺苇蟻位伪渭蟺蟻畏.
螖蔚谓 蠀蟺维蟻蠂蔚喂 魏维蟿喂 蟺慰蠀 谓伪 蔚委谓伪喂 蟺蔚蟻喂蟿蟿蠈 萎 魏慰蠀蟻伪蟽蟿喂魏蠈.

螤蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 螠伪魏螝维位伪 伪蟺慰 蟿慰 1836 蔚蠅蟼 蟿慰 2012.
韦蟻委伪 渭苇位畏 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 伪蠁畏纬慰蠉谓蟿伪喂, 慰 魏伪胃苇谓伪蟼 渭蔚 蟿畏谓 未喂魏萎 蟿慰蠀 蟺蟻慰慰蟺蟿喂魏萎 蟺蟻慰蟽苇纬纬喂蟽畏蟼 魏伪喂 蔚渭蟺蔚喂蟻委伪蟼.

螣 芦蟽蠀谓蟿伪纬渭伪蟿维蟻蠂畏蟼禄, 螉位伪蠆 螠伪魏螝维位伪, 蟺伪蟿蟻喂维蟻蠂畏蟼 蟿畏蟼 胃蟻蠀位喂魏萎蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 纬喂慰蟼 螜蟻位伪谓未慰蠉 渭蔚蟿伪谓维蟽蟿畏. 螢蔚魏喂谓维蔚喂 蟿畏谓 伪蠁萎纬畏蟽畏 伪蟺慰 蟿伪 蟺伪喂未喂魏维 蟿慰蠀 蠂蟻蠈谓喂伪, 蟿畏 未蔚魏伪蔚蟿委伪 蟿慰蠀 1840 渭苇蠂蟻喂 魏伪喂 蟿伪 蔚魏伪蟿慰蟽蟿维 蟿慰蠀 纬蔚谓苇胃位喂伪. 螆谓伪蟼 伪喂蠋谓伪蟼 尾委伪喂畏蟼 喂蟽蟿慰蟻委伪蟼 魏伪喂 蟽魏位畏蟻慰蠉 蟻蔚伪位喂蟽渭慰蠉.

螣 螤委蟿蔚蟻 螠伪魏螝维位伪, 纬喂慰蟼 蟿慰蠀 螉位伪蠆, 伪蠁畏纬蔚委蟿伪喂 渭蔚 蟿畏 未喂魏萎 蟿慰蠀 尉蔚蠂蠅蟻喂蟽蟿萎 蔚渭渭慰谓萎 蟽蟿畏谓 蟺谓蔚蠀渭伪蟿喂魏蠈蟿畏蟿伪, 蟿畏谓 畏胃喂魏萎 魏伪喂 蟿畏 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蠁蠈蟻蟿喂蟽畏 蟺慰蠀 蟿慰谓 蔚渭蟺位苇魏蔚喂 蟽蔚 蟽蠀谓蔚喂未畏蟽喂伪魏慰蠉蟼 蔚蠁喂维位蟿蔚蟼 螚 蠄蠀蠂萎 蟿慰蠀 伪蟻谓蔚委蟿伪喂 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 畏 蔚蟺慰蠂萎 蟿慰蠀 魏伪位蠉蟺蟿蔚喂 魏蠀蟻委蠅蟼 蟿伪 蠂蟻蠈谓喂伪 蟿慰蠀 蟺蟻蠋蟿慰蠀 蟺伪纬魏蠈蟽渭喂慰蠀 蟺慰位苇渭慰蠀.

螚 韦味委谓喂 螠伪魏螝维位伪, 蔚纬纬慰谓萎 蟿慰蠀 螤委蟿蔚蟻, 伪纬蠅谓委味蔚蟿伪喂 谓伪 伪蟺慰魏蟿萎蟽蔚喂 蟿伪 伪蟺伪纬慰蟻蔚蠀渭苇谓伪 未喂魏伪喂蠋渭伪蟿伪 蟿畏蟼 纬蠀谓伪喂魏蔚委伪蟼 蠀蟺蠈蟽蟿伪蟽畏蟼 魏伪喂 谓伪 蔚未蟻伪喂蠋蟽蔚喂 蟿畏 胃苇蟽畏 蟿畏蟼 蟽蟿喂蟼 魏蟿畏谓慰蟿蟻慰蠁喂魏苇蟼 魏伪喂 蟺蔚蟿蟻蔚位伪蠆魏苇蟼 蔚蟺喂蠂蔚喂蟻萎蟽蔚喂蟼 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼.
螚 喂蟽蟿慰蟻委伪 蟿畏蟼 魏伪位蠉蟺蟿蔚喂 蟿伪 蠂蟻蠈谓喂伪 伪蟺慰 蟿慰 1936 蔚蠅蟼 蟿慰 2012.

螣喂 伪蠁畏纬萎蟽蔚喂蟼 蟿慰蠀蟼 未喂伪蟻胃蟻蠋谓慰谓蟿伪喂 蟺蔚蟻喂蟽蟿蟻慰蠁喂魏维 渭蔚 蔚谓伪位位伪纬萎 蟺蟻慰蟽蠋蟺慰蠀 蟽蔚 魏维胃蔚 魏蔚蠁维位伪喂慰.
螒蟺慰魏伪位蠉蟺蟿慰谓蟿伪喂 蟽蟿伪未喂伪魏维 蟿伪 渭蠀蟽蟿喂魏维 魏伪喂 蠄苇渭伪蟿伪 蟿畏蟼 慰喂魏慰纬苇谓蔚喂伪蟼 螠伪魏螝维位伪, 畏 渭伪蟿蠅渭苇谓畏 喂蟽蟿慰蟻委伪 蟿慰蠀 韦苇尉伪蟼, 慰喂 未喂蔚蠀胃蔚蟿萎蟽蔚喂蟼 魏伪喂 慰喂 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼 渭蔚蟿伪尉蠉 螜谓未喂维谓蠅谓, 位蔚蠀魏蠋谓 伪蟺慰委魏蠅谓 魏伪喂 螠蔚尉喂魏伪谓蠋谓, 畏 蔚纬魏伪胃委未蟻蠀蟽畏 魏蟻伪蟿喂魏萎蟼 蠀蟺蠈蟽蟿伪蟽畏蟼, 伪蟺蠈蟽蠂喂蟽畏 魏伪喂 伪渭蔚蟻喂魏伪谓喂魏蠈蟼 蔚渭蠁蠉位喂慰蟼 蟺蠈位蔚渭慰蟼, 魏蟿畏谓慰蟿蟻慰蠁喂魏萎 蟺伪蟻伪纬蠅纬萎, 渭喂蟽胃慰蠁蠈蟻慰喂 蟿畏蟼 维纬蟻喂伪蟼 螖蠉蟽畏蟼 魏伪喂 蟺伪纬魏蠈蟽渭喂伪 慰喂魏慰谓慰渭委伪 尾伪蟽喂蟽渭苇谓畏 蟽蟿慰 尾伪渭尾维魏喂 魏伪喂 蟿喂蟼 蟺蔚蟿蟻蔚位伪蠆魏苇蟼 蟺畏纬苇蟼.

螣 螠维纬喂蔚蟻 纬蟻维蠁蔚喂 蠀蟺苇蟻慰蠂伪, 蠀蟺蔚蠉胃蠀谓伪 魏伪喂 未畏渭喂慰蠀蟻纬喂魏维. 螠苇蟽伪 伪蟺慰 蟿喂蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿慰蠀 尉蔚蟺畏未维蔚喂 畏 未喂蔚蟻蔚蠉谓畏蟽畏 蟺慰蠀 蟺蟻慰畏纬萎胃畏魏蔚 渭伪胃伪委谓慰谓蟿伪蟼 纬喂伪 蟿喂蟼 蠂蟻慰谓喂魏苇蟼 蟺蔚蟻喂蠈未慰蠀蟼 魏伪喂 蟿喂蟼 蟿慰蟺喂魏苇蟼 魏慰喂谓蠈蟿畏蟿蔚蟼 魏伪喂 伪谓伪蟺蟿蠉蟽蟽慰谓蟿伪喂 未蔚尉喂蠈蟿畏蟿蔚蟼 蟺慰蠀 蠂蟻蔚喂维味慰谓蟿伪喂 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿慰蠀 纬喂伪 谓伪 蟽慰魏维蟻慰蠀谓 魏伪喂 谓伪 纬慰畏蟿蔚蠉蟽慰蠀谓 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼.

螚 苇蟻蔚蠀谓伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟺蟻慰魏伪位蔚委 渭喂伪 苇谓蟿慰谓畏 伪委蟽胃畏蟽畏 伪蠀胃蔚谓蟿喂魏蠈蟿畏蟿伪蟼. 螘魏蟺位畏魏蟿喂魏维 伪蠁蠈蟻畏蟿蔚蟼 慰喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿喂蟼 蟽蠀谓萎胃蔚喂蔚蟼 未喂伪尾委蠅蟽畏蟼 魏伪喂 蔚蟺喂尾委蠅蟽畏蟼 蟿蠅谓 螜谓未喂维谓喂魏蠅谓 蠁蠀位蠋谓.
螌位蔚蟼 慰喂 蟽魏畏谓苇蟼 伪蟺蔚喂魏慰谓委味慰谓蟿伪喂 维蠄慰纬伪 魏伪喂 蟺伪蟻伪蟽蟿伪蟿喂魏维, 伪蟺慰 蟿伪 蟿慰蟺委伪 蟿畏蟼 魏伪蠀蟿萎蟼 蔚蟻萎渭慰蠀 渭苇蠂蟻喂 蟿畏谓 维纬蟻喂伪 未蟻慰蟽喂维 蟿慰蠀 伪委渭伪蟿慰蟼 蟺慰蠀 尉蔚未喂蠄维蔚喂 伪未苇谓蔚蟼 尾伪蟻尾维蟻蠅谓 蟺慰位蔚渭喂蟽蟿蠋谓.
螣喂 蠁蠅谓苇蟼 伪魏慰蠉纬慰谓蟿伪喂 蟺蟻伪纬渭伪蟿喂魏维 魏伪喂 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 苇蠂慰蠀谓 蟿慰 蠂维蟻喂蟽渭伪 魏伪喂 蟿慰 蟻蔚伪位喂蟽渭蠈 蟺慰蠀 蔚蟺喂蟿蟻苇蟺蔚喂 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 谓伪 慰喂魏慰未慰渭萎蟽蔚喂 蟿慰谓 伪渭蔚蟻喂魏伪谓喂魏蠈 渭蠉胃慰 蟿畏蟼 未畏渭喂慰蠀蟻纬委伪蟼 渭蔚 喂未伪谓喂魏蠈 蟿蟻蠈蟺慰.

螣 螠维纬喂蔚蟻 未蔚谓 蠂伪蟻伪魏蟿畏蟻委味蔚喂 蟿慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 渭蔚 伪蟺蠈未慰蟽畏 蟿委蟿位蠅谓 魏伪位慰蠉 萎 魏伪魏慰蠉 蟽蔚 魏伪渭委伪 伪蟺慰 蟿喂蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼 蟽蠀纬魏蟻慰蠉蟽蔚蠅谓 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螝伪蟿伪未蔚喂魏谓蠉蔚喂 苇谓蟿慰谓伪 蟿喂蟼 蟽蠀渭蟺蔚蟻喂蠁慰蟻苇蟼 蟿慰蠀蟼 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏 魏伪喂 蟿慰蠀蟼 谓蠈渭慰蠀蟼 蔚蟺喂魏蟻维蟿畏蟽畏蟼 蟿慰蠀 蟺喂慰 喂蟽蠂蠀蟻慰蠉.
螘委谓伪喂 渭喂伪 魏蠀魏位喂魏萎 蔚尉苇位喂尉畏 蟺慰蠀 蟽蠀谓蔚蠂委味蔚蟿伪喂 伪苇谓伪伪 蟽蟿畏谓 喂蟽蟿慰蟻委伪.
螣喂 位蔚蠀魏慰委 维蟺慰喂魏慰喂 魏位苇尾慰蠀谓, 蟽蟿畏谓 慰蠀蟽委伪, 蟿畏 纬畏 伪蟺慰 蟿慰蠀蟼 螠蔚尉喂魏伪谓慰蠉蟼, 慰喂 慰蟺慰委慰喂 蟿畏谓 苇魏位蔚蠄伪谓 伪蟺慰 蠁蠀位苇蟼 螜谓未喂维谓蠅谓, 蟺慰蠀 蟿畏谓 蔚委蠂伪谓 蟺维蟻蔚喂 尾委伪喂伪 伪蟺慰 蟺蟻慰纬蔚谓苇蟽蟿蔚蟻蔚蟼 螜谓未喂维谓喂魏蔚蟼 魏慰喂谓蠈蟿畏蟿蔚蟼.
螠喂伪 喂蟽蟿慰蟻委伪 蟺蟻慰蟽伪蟻渭慰纬萎蟼 萎 伪蠁伪谓喂蟽渭慰蠉 蟽蔚 苇谓伪谓 蟽魏位畏蟻蠈 伪位位维 蠈渭慰蟻蠁慰 魏蠈蟽渭慰 蟺慰蠀 魏伪蟿伪蟻纬蔚委, 未畏渭喂慰蠀蟻纬蔚委蟿伪喂 魏伪喂 蔚尉蔚位委蟽蟽蔚蟿伪喂.

螛伪 萎胃蔚位伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蟽蔚位委未蔚蟼 喂蟽蟿慰蟻委伪蟼 蔚喂未喂魏维 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 尾喂尾位委慰蠀, 蠋蟽蟿蔚 谓伪 伪蟺慰位伪蠉蟽蠅 蟿慰 委未喂慰 蟺位慰蠉蟽喂慰 蔚蟺委蟺蔚未慰 位蔚蟺蟿慰渭苇蟻蔚喂伪蟼 渭苇蠂蟻喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟽魏畏谓萎.

违蟺慰胃蔚蟿喂魏维, 蠈蟿伪谓 蟿蔚位蔚喂蠋谓蔚喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 维谓蠅 蟿蠅谓 600 蟽蔚位委未蠅谓 魏伪喂 蔚蟺喂胃蠀渭蔚委蟼 谓伪 蠀蟺萎蟻蠂伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼, 伪蟺慰未委未蔚蟿伪喂 畏 魏伪位蠉蟿蔚蟻畏 魏蟻喂蟿喂魏萎 伪尉喂慰位蠈纬畏蟽畏 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 纬委谓蔚喂.

馃拵 馃徆馃彍馃彍鉀梆煆曗浐锔忦煆桂煉�

螝伪位萎 伪谓维纬谓蠅蟽畏
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!!
Profile Image for Edward Gwynne.
532 reviews2,065 followers
February 19, 2025
This is one of the books I recommended to read after Blood Meridian. Check out the video here:

*2nd Read - Such a sublime book. Thought provoking and heartbreaking.*

*3rd Read - The segment with Eli and the Comanche is just written so perfectly. I always feel like I am there.*

*4th Read - the final page destroyed me.*

Since reading The Son I have been spurred on to read about and explore the life of the Native American bands of the Comanches. The Son opened my eyes to a whole culture and civilisation that I had always overlooked, but instantly became fascinated by. The more I have discovered about the Comanches the more I have respected The Son and the knock-on affect I have felt since reading it.

Check out my review for The Son by Philipp Meyer on Grimdark Magazine here:

The Son is an epic novel that scales the history of the American west over 3 generations of a family, the McCulloughs. It is an instant classic, a masterpiece and a heartbreaking story that does not shy away from the horrific and honest truth of how America was formed, right from its very bones.鈥�

鈥淔ollow your footprints long enough and they will turn into those of a beast.鈥�

Philip Meyer has written a book that immediately captured all of my attention. It follows 3 POVs of the McCullough family, Eli - born 1836, Peter - born 1874 and Jeannette - born 1934. After reading Cormac McCarthy鈥檚 awe-inspiring 鈥楤lood Meridian I have not been able to get enough of the American West and have been on a reading binge focusing on the real 鈥榦ld west鈥� era. Because of this the thread written around Eli McCullough and his story was my main interest, but much to my surprise the two interweaving storylines of Peter and Jeanette sparked a need to know everything about them and what happens to them.鈥�

The prose within The Son is reminiscent of Cormac McCarthy. There are subtle differences in the language and a focus on other aspects of story-telling, Philip Meyer has crafted his own style and it is completely wonderful. If you are a fan of Cormac McCarthy, you鈥檒l be a fan of Meyer. His writing has no pride, no secrets, just brutal honesty and an extremely direct and breathtaking way of writing what happens next to our characters.鈥�

鈥淢y brother began to cry out in his sleep; I started to shake him, then stopped. There wasn鈥檛 any dream he could be having that would be as bad as waking up.鈥澨€�

Eli is interweaved throughout all three stories, as he is the oldest and basically the 鈥楧on Corleone鈥� character in the Peter and Jeanette sections. However, Eli鈥檚 own storyline was my favourite by a long shot, even though there are some absolutely horrific scenes in these parts. Eli鈥檚 family are killed by a Comanche tribe when he is a young boy and they take him captive. He then must do all he can to adapt, survive and fight the cruel world into which he has been born.

鈥≒eter, Eli鈥檚 son, is at war with his father鈥檚 own fame and power, and bears witness to horrors himself that completely misshape his life. Jeanette, Eli鈥檚 great-granddaughter is a woman who is in a typically man鈥檚 world, who wants to show everyone what she can do and how she is a true McCullough.鈥�
鈥淚f you hate me it is because I have morals.鈥�

The three characters and three timelines were written so well that it was not difficult to follow whatsoever, and over 561 pages of this epic story there is plenty of time to invest in all three and understand exactly what is underneath their layers. I found myself begging for more chapters of their stories, more depth.听鈥�

鈥淚 might be killed any day, by whites or hostile Indians, I might be run down by a grizzly or a pack of buffalo wolves, but I rarely did anything I didn't feel like doing, and maybe this was the main difference between the whites and the Comanches, which was the whites were willing to trade all their freedom to live longer and eat better, and the Comanches were not willing to trade any of it.鈥�

鈥═here is everything for fans of literature here; the exhilarating gunfights on the Mexican border, the romantic, natural but deadly lifestyle of the Comanche Native American鈥檚, the forbidden love of a rival-family member, a strong female character who is equal in standing to any Colonel, beautiful prose, a sweeping plot that lifts you from your feet and drops you in the saddle of an enthusiastic American Paint Horse. There is so, so much to like, so much to love. It instilled a love within me for the Comanche way of life, and invoked such sadness when characters I grew fond of died, or befell hideous accidents or tragedies.

鈥淚t is impossible to believe we are truly in God's image. Something of the reptile in us yet, the caveman's allegiance to the spear. A vestige of our time in the swamps. And yet there are those who wish to return. Be more like the reptile, they say. Be more like the snake, lying in wait. Of course, they do not say snake, they say lion, but there is little difference in character between the two, only in appearance.鈥濃€�

5/5 鈥� There鈥檚 a lot of tragedy in this book. It is an epic tragedy of the birth of the West, of America and the rise and fall of a family changed by new ways of life. There is little joy or happiness within The Son, but it is an astounding feat of writing. You may read it and instantly want to make a bow out of deer sinew and osage wood, you may want to experience riding a horse in the dry plains of Texas, you may want to never dwell on the horrors that The Son highlights. You may, like me, experience all three.
Profile Image for Michael.
1,094 reviews1,927 followers
December 11, 2013
A great read for me鈥擨 could hardly put it down. Everything is big in Texas, and in this saga a family line gets big in alignment with a big history. Luckily it doesn鈥檛 do a Michener of trying to cover a vast epoch using a huge cast.

Meyer sticks stays mostly with three fascinating and complex characters of three different generations of the McCulloch family, spanning about a century and a half. The frontispiece contains the lineage for the three: patriarch Eli, his son Peter, and great-granddaughter Jeannie, whose alternating voices spin out the tale. The period for Eli covers from the time of early Anglo and German immigrant pioneers to a south Texas border zone between the Nueces Rio Grande Rivers, the transition from open range cattlemen to fenced ranching, a and larger wave of settlement stimulated by the rise of railroads. I will reveal nothing more than to say that Eli鈥檚 development is bound up with his early experiences with the Comanches, a wandering and dangerous life with the Texas Rangers, and struggles to build a ranching empire after the Civil War, which together makes a substantial and enthralling part of this book.

Eli and Peter are both marked from events surrounding the brutal competition for land and dominion between the new settlers and Spanish families in residence for a century or more. But they are shaped in opposite ways. Eli sees himself part of the primeval trend that is well captured by the theme in Mitchell鈥檚 鈥淐loud Atlas鈥�: 鈥楾he weak are meat the strong do eat鈥�, while Peter seeks to walk the walk of peace and tolerance. From the first pages, Eli, the 鈥淐olonel鈥�, is reflecting back from age 100, so we know he thrived, while by page two we know that somewhere along the line Peter has disappeared. Eli鈥檚 outlook is steeped in the harshness of a dog-eat-dog world:

The Spanish had been in Texas hundreds of years but nothing had come of it. 鈥he Lipan Apaches stopped the old conquistadores in their tracks. 鈥hen came the Comanche. The earth had seen nothing like it since the Mongones; they drove the Apaches into the sea, destroyed the Spanish army, turned Mexico into a slave market. 鈥he Comanche philosophy toward outsiders was nearly papal in its thoroughness: torture and kill the men, rape and kill the women, take the children for slaves or adoption.

Still, he disarms us with his irreverent humor:
The thing about preachers 鈥� is if they ain鈥檛 sparkin鈥� your daughters, or eatin鈥� all the fried chicken and pie in your icebox, they鈥檙e cheatin鈥� your son on horses.鈥� .

Also in the first pages the voice Jeannie appears, also reflecting back from old age, 86, many years later. As a tomboy in love with the ranch and land, she admired ancient Eli above all. In Sunday school as a girl she recalls:
When she asked the teacher what would happen to the Colonel 鈥he teacher said he was going to hell, where he would be tortured by Satan himself. 鈥業n that case, I am going with him鈥�, Jennie said. She was a disgraceful little scamp. She would have been whipped if she were Mexican.

Where the privileged sons of the family wander away from home base, Jeannie fulfills the mission of Eli to grow the family wealth by becoming an oil tycoon. Though she is not a warm person, we root for her to succeed at this man鈥檚 game.

While in Jeannie鈥檚 first section her disappeared grandfather Peter is not anyone she thinks about( 鈥渘o one had anything good to say about him鈥�), Peter鈥檚 story from his journals makes him the moral compass of the saga. He bears the sins of the fathers, and in response he transgresses the rules of the culture. He goes along with his father in the first steps to convert the ranch to oil production, but his heart isn鈥檛 into dynasties. His despairs of human destructiveness:

The entire earth, it seems, is being slowly transformed into a desert; mankind will die off and something new will replace it. There is no reason that there should only be one human race. I was likely born a thousand years too early, or ten thousand. One day those like my father will seem like the Romans who fed Christians to the lions. 鈥� What we need is another great ice to come and sweep us into the ocean. To give God a second chance.

These three voices were incredibly real for me, revealing characters of mythic proportions, but achingly real. Most of all, I appreciated the sense of place evoked in the story. I lived for a time in the Hill Country of Texas, which ends just to the north and east of this sparsely populated area of dry grassland, Dimmit County. Thus, I could relate to the flora and fauna, such as the cottonwoods and live oaks, the hawks and vultures. I miss those vistas beneath the big sky that makes you feel small and large at the same time. How does one make a mark of the history of a place so big, and how does one emerge from a history that marks you with terrible sacrifices?

Jeannie, despite all her successes, can鈥檛 help feeling alone and small. The year Kennedy was assassinated in Dallas, she reflects that 鈥渋t had not surprised her. The year he died, there were still living Texans who had seen their parents scalped by Indians. The land was thirsty. Something primitive still in it.鈥� I was moved to experience how her outlook comes to be a hybrid of her forbears Eli and Peter:

A man, a life鈥攊t was barely worth mentioning. The Visigoths had destroyed the Romans, and had themselves been destroyed by the Muslims. Who were destroyed by the Spanish and Portuguese. You do not need Hitler to see that it was not a pleasant story. And yet here she was. Breathing, having these thoughts. The blood that ran through history would fill every river and ocean, but despite all the butchery, here you were. 鈥ven if God existed, to say he loved the human race was preposterous. It was just as likely the opposite 鈥he strong took from the weak, only the weak believed otherwise, and if God was out there, he was just as the Greeks and Romans suspected; a trickster, an older brother who spent all his time inventing ways to punish you.

As you can tell, I highly recommend this book. It gave me some of the same pleasures of life's triumphs and losses against the backdrop of history of the American West as McMurtry's "Lonesome Dove".
Profile Image for Roxane.
Author听44 books167k followers
June 3, 2013
Starts impressively but overall, feels too deliberate, too polished, too forcibly epic. Weird proofreading errors in several places. The narrative frame collapses about a third of the way through, just, utterly. The most compelling sections are those from Peter McCullough's diaries. He is, by far, the moral compass of this novel and the most well-drawn character. At times, the book reads like a history textbook. Absolutely grating. Too much of the writer inserting himself in the prose at times. The ending is rushed. If you're going to write an epic, write an epic. Jeannie, as the woman out of place and time, is so clich茅d, spouting everything you would expect a woman who doesn't fit in with women or men to say. A total missed opportunity. The women are mostly narrow, and essentially serve as sexual vessels in one form or another. This is a man's book, for sure, and I get what the overall project is here, re: creation myths and the American west and so on. It's a good Western. It is not... the book of the year.

Don't get me wrong, Meyer is very talented, but this book is not nearly as good as the "buzz" suggests. And I'm probably wrong on this, and it's just me, but ugh, not my cup of tea. I feel like...I'd rather read Michener.
Profile Image for Warwick.
Author听1 book15.2k followers
March 21, 2017
I had loved Meyer's when I read it during a holiday in Pennsylvania a couple of years back; a trip to Texas last week seemed like a good excuse to read his follow-up, which showed every sign of being a culmination of his many talents. The Son is a sprawling, multigenerational family tale, not a million miles away from the kind of AGA-saga that people like Joanna Trollope have been writing for years, though because the author is male and American the book 鈥� which in alternating chapters follows the members of three different generations from the 1830s to the present day 鈥� has been lauded as some kind of revolution in narrative structure.

The earliest storyline, which is by far the most compelling (there's problem one), consists of a first-person account by the family patriarch, who was abducted by Comanches and brought up first as a slave and eventually as an accepted member of the tribe. Here Meyer is in fine deadpan Western mode, channelling Faulkner and 鈥� especially 鈥� inviting risky comparisons with Cormac McCarthy, in relation to whom Meyer occasionally seems almost to be a pasticheur:

By sundown the walls of the canyon looked to be on fire and the clouds coming off the prairie were glowing like smoke in the light, as if this place were His forge and the Creator himself were still fashioning the earth.


Meyer's prose style is not as distinctive as McCarthy's, and he doesn't have quite the same bleakness of vision (Meyer reacts to man's violence with weariness and sympathy, while McCarthy reacts with pure horror), but he does have a stronger sense of plot and incident. Following Eli McCullough's early life as a Comanche captive is totally compelling from a purely narrative point of view, the inside portrayal of Comanche life is impressively convincing, and interleaving the stories of Eli's descendants makes it very clear how this violence was handed down to future generations.

There is a practical point being made here, which appealed to me: it's not anything high-flown about the metaphysics of conflict and death, but rather about the sober realities of how the American West was built on constant cycles of killing 鈥� whether of animals, Native Americans, Mexicans or neighbours 鈥� and how these cycles do not just replay endlessly in place but are also even exported (notice how later generations of McCulloughs, heavily involved in the oil industry, discuss creating further opportunities in Iran and Iraq).

On the ranch they had found points from both the Clovis and the Folsom, and while Jesus was walking to Calvary the Mogollon people were bashing each other with stone axes. When the Spanish came there were the Suma, Jumano, Manso, La Junta, Concho and Chisos and Toboso, Ocana and Cacaxtle, the Coahuiltecans, Comecrudos鈥ut whether they had wiped out the Mogollons or were descended from them, no one knew. They were all wiped out by the Apaches. Who were in turn wiped out, in Texas anyway, by the Comanches. Who were finally wiped out by the Americans.


The book's title, then, doesn't refer to any son in particular. Rather, it brings to mind Biblical warnings about where the sins of the father will be visited: that sense of retribution, unfairness, and cyclical violence is what the novel is finally about. The cycles have not stopped and they show every sign of continuing to play out until we're all long gone.

The question is, do you need six hundred pages to illustrate that point? I felt that you didn't, and the book overstayed its welcome slightly for me; from around the halfway mark, I was silently urging, yes, yes, we get it and battling a growing sense that the more modern strands of narrative were underdeveloped and contributing little 鈥� they wouldn't stand on their own two feet and only worked as adjuncts to the richer story of the 1860s.

This practical problem, I suspect, is what motivated the novel's structure. Nevertheless, there are passages in here, of Comanche raids and southwestern hoodoos, that I wouldn't have missed for anything; and as a man-hands-on-misery-to-man family drama, it's full of gruff charm, emotional resonance, and pointed reflections on what lies behind the making of America.
Profile Image for Howard.
437 reviews355 followers
February 6, 2021
This is a review that I originally posted in July, 2014. For some inexplicable reason it vanished without leaving any explanation. Since it is a favorite book of mine, I am re-posting it.


Phillipp Meyer鈥檚 "The Son," a sprawling multi-generational epic set in Texas (which is always a good place to locate epics, especially the sprawling variety), begins with the family patriarch, Col. Eli McCullough.

COL. ELI MCCULLOUGH
"Most will be familiar with the date of my birth. The Declaration of Independence that bore the Republic of Texas out of Mexican tyranny was ratified March 2, 1836, in a humble shack at the edge of the Brazos. Half the signatories were malarial; the other half had come to Texas to escape a hangman鈥檚 noose. I was the first male child of this new republic.鈥�

He grows up to become one tough hombre. He has not only seen it all, he has lived it. In his lifetime, he was a Comanche captive, Texas Ranger, Confederate colonel, cattle baron, and oil tycoon. Obviously, it had to be a long life -- and it was 鈥� one hundred years. How a young helpless boy at the mercy of his Comanche captors eventually became a wealthy tyrant wielding almost absolute power is at the heart of the novel.

PETER MCCULLOUGH
鈥淢y birthday. Today, without the help of any whiskey, I have reached the conclusion: I am no one. Looking back over my forty-five years I see nothing worthwhile 鈥� what I had mistaken for a soul appears more like a black abyss 鈥� I have allowed others to shape me as they pleased. To ask the Colonel I am the worst son he has ever had鈥�.鈥�

Ron Charles perfectly characterizes Peter in his review in the Washington Post as 鈥渁 prairie Hamlet among the Texas Medicis.鈥� There is no way that the son can possibly surpass the father when it comes to achievements, or does he even want to. Instead, he is the novel鈥檚 conscience and critic. He deplores his father鈥檚 status as a giant in the land, but most of all he hates how his father has achieved that status and the harsh measures he resorts to in order to maintain it. There is no reward for such views. In fact, most people see him as a weak man -- and that includes his father.

JEANNE ANNE MCCULLOUGH
If she were a better person she would not leave her family a dime; a few million, maybe, something to pay for college or if they got sick. She had grown up knowing that if a drought went on another year, or the ticks got worse, or the flies, if any single thing went wrong, the family would not eat. Of course, they had oil by then; it was an illusion. But her father had acted as if it was true, and she had believed it, and so it was.

鈥ven as a child she鈥檇 been mostly alone. Her family had owned the town. People made no sense to her. Men, with whom she had everything in common, did not want her around. Women, with whom she had nothing in common, smiled too much, laughed too loud, and mostly reminded her of small dogs, their lives lost in interior decorating and other peoples鈥� outfits. There had never been a place for a person like her.


If the Colonel had a soul mate, it was his great-granddaughter, Jeanne Anne. He had no respect and little love for his son, Peter, or his grandson, Charles, who was Jeanne Anne鈥檚 father. However, he doted on Jeanne Anne and she, who never knew her grandfather and also had little respect for her father, returned her great-grandfather鈥檚 affection.

As far as the Colonel was concerned, Peter was too soft and idealistic and in his own way, so was Charles, who was too tied to cattle and the land. The Colonel understood that down through the ages through war and conquest the land had been won and lost many times and he believed that it was subject to occurring again, that historical progress was a matter of destroying what had come before. Therefore, one should extract what one could from the land while one could. Charles wanted only to be a cattleman, but cattle ranching was a losing proposition. The Colonel鈥檚 solution 鈥� and Jeanne Anne鈥檚 鈥� was to drill, drill for oil.

Despite his capture as a boy by the Comanches and their initial cruel treatment of him, the Colonel learned not only to respect them, but also to view them as family. They were practically the only people that he held in esteem.

He viewed the poor Mexicans of the area as people whose labor was to be exploited. But he also believed that the prosperous Mexicans who owned land were to be exploited as well. He believed that their time had passed and he viewed their property as fair game for the taking -- and he took.

His opinion of most of the whites in the area wasn't much higher either, with one exception. He had good things to say about the German settlers living around the town of Fredericksburg:

"Before the Germans came, it was thought impossible to make butter in a southern climate. It was also thought impossible to grow wheat. A slave economy does that to the human mind, but the Germans, who had not been told otherwise, arrived and began churning first-rate butter and raising heavy crops of the noble cereal, which they sold to their dumbfounded neighbors at a high profit.

鈥淵our German had no allergy to work, which was conspicuous when you looked at his possessions. If, upon passing some field, you noticed the soil was level and the rows straight, the land belonged to a German. If the field was full of rocks, if the rows appeared to have been laid by a blind Indian, if it was December and the cotton had not been picked, you knew the land was owned by one of the local whites, who had drifted over from Tennessee and hoped that the bounties of Dame Nature would, by some witchery, yield him up a slave.鈥�
Profile Image for Darwin8u.
1,774 reviews8,946 followers
April 1, 2017
"Remember that," he sad, "None of it's worth a shit until you put your name on it."
-- Philipp Meyer, The Son

description

There are certain rare novels that capture the art, heart, and action of both American fiction and history. 'The Son" is one of those historical novels that can absolutely propel the reader. Its narrative strength, however, is equaled by its detail and its multi-generational epic arc. 'The Son' captures the tension between land and people; the contest between people and people; the struggle between fathers and sons. 'The Son,' is the history of Texas and the West told through three generations of Texans: Eli McCullough (born 1836: the year Texas became a Republic/thesis), his son Peter (born 1870/antithesis) and Peter's granddaughter Jeanne Anne (born 1926/synthesis).

This is a novel that is a pure descendant of Melville, Faulkner, Cather and McCarthy (perhaps, not quite up to their snuff, but a valiant effort). These authors set the stage that allowed Meyer to carve his novel out of the rich soil of the Texas and to shoot another Western myth into the the innumerable stars in the sky.
Profile Image for Amanda.
282 reviews310 followers
September 14, 2013
An epic tale of family set in a state big enough to bear the weight of legend, The Son follows three generations of the powerful McCullough family of Texas: "Colonel" Eli McCullough, the rough and tumble patriarch of the family, whose past includes being a Comanche captive and assimilated tribal member, Texas Ranger, Civil War Confederate, and Texas land baron; his son, Peter, a gentle soul tied to the land, but whose conscience weighs on him after his family's participation in the slaughter of their Mexican neighbors and subsequent land grab; and Jeannie McCullough, the granddaughter of Peter, who shuns society's gender defined role to become the family's first powerful matriarch in the wake of the Texas oil boom. Their stories are inextricably bound to the violent birth and coming of age of Texas.

Through his exploration of the chains of familial duty and legacy, Meyer is depicting more than just the turbulent years of our country's pioneering past. Texas serves as a microcosm through which Meyer skillfully explores the cyclical rise and fall of empire: the success of a tribe or a country or a family is written in the blood of another, one generation crashes into the next, a king must fall before "the son" can take his place. And yet it's more than that--when men build empires, they stare into the abyss of their own mortality and try to leave their mark on a world and a history so vast, so infinite that even the most significant of lives will eventually be consumed and forgotten. Passing the torch to the next generation becomes the only form of immortality one can hope for. But what happens when the next generation wants to build their own legacy, or can't make peace with the sins committed in their family's past? This is particularly evident in the chapters following Peter McCullough, a man defined by a guilt that's not his own, and also in the chapters about Jeannie McCullough, a woman who has to blaze her own trail to keep the family name alive.

The chapters about Eli McCullough are the most engrossing and Meyer doesn't pick sides in presenting the ensuing conflicts between pioneers and the Native Americans. There is no noble savage here; the Comanche are capable of stomach-churning violence (raping and mutilating Eli's mother and sister before his eyes, torturing enemies in their camp, raping and brutalizing captives), but they are also compassionate and funny in their relationships with one another. The same is true of the pioneers--engaging in unspeakable acts of cruelty against the Comanche and other tribes, they are not monsters entire. Instead, both sides are all human with "Something of the reptile in us yet, the caveman's allegiance to the spear." The fight for land and dominance was not unique to the whites as it is ingrained in human culture to take from those who are different and whose ways one does not understand.

An overall excellent novel, the only reason I'm giving it a 4 out of 5 star is because it is grim reading, which made me long for a bit of Larry McMurtry's ability to balance grim reality with the humor in life. Also, I found the presentation of the three differing narratives perplexing. The Eli and Peter chapters are told in first person, while Jeannie's are told in third (which may be to show her struggle for "voice"). Eli's chapters are originally presented as the result of an interview done at the end of his life, but do not read as an interview. Peter's chapters are told in the form of a diary, which reads like no diary ever kept by anyone in human existence. Instead, they read just like novel narrative, continuing for pages with exact dialogue and lengthy descriptions with little to designate them as diary entries other than the occasional insertion of a date. These conventions, the interview and the diary, seemed unnecessary and were at times off-putting.

There was little to differentiate the voices of Eli, Peter, and Jeannie, but maybe that's the point--that theirs is the voice of history relating a story that will be told time and time again with no one learning its lessons.

Cross posted at and at
Profile Image for Trish.
1,413 reviews2,687 followers
March 21, 2017
This is a big summer blockbuster of a novel鈥攁 huge book that can keep one occupied for days. The world looks a little different after a session with it鈥攚e feel wonder and regret in equal shares: wonder at human diversity and commonality evident at the same time; regret at our inability to comprehend this and share our bounty until it is too late.

Three generations of Texans represented by Eli, Peter, and Jeanne struggle through Comanche raids and the discovery of oil from the mid-nineteenth through the twentieth centuries. Eli is the "son" about whom the others revolve, and his life is the most finely described and keenly felt. But the time and distance we readers enjoy as the generations play out is what brings the book to fruition: life lessons and realizations about the human condition result.

Comparisons have been made of Philipp Meyer with Cormac McCarthy and I can see why: the country is that same hard, brutal, violent landscape that McCarthy paints so memorably. Meyer has his own style, however. Sentences are longer and in this novel the timeline is far longer. He shifts point of view and time frequently, and he writes in the voice of a woman鈥攁n unusual woman who often thinks like a man, it could be argued鈥攂ut that is something I don鈥檛 recall McCarthy attempting.

The threads come together at the end, and we see who sired whom, and which family is still standing. What is remarkable as the story unfolds, is how the large scope of the story smooths out the individual agonies and gives us instead a kind of justice鈥攚hat we like to call divine justice鈥攂ut it is really no more than human history to date. If it went on a little longer, perhaps, the wheel would have turned once again. There may be some in the future who have actually learned from our past, but judging from the folks that survive in this book, the hope is a faint one.
Jeanne : "But the slackening. By five she and her brothers were throwing loops. By ten she was at the branding fire. Her grandchildren were not good at anything and did not have much interest in anything either. She wondered if the Colonel would even recognize them as his descendants, felt briefly defensive for them, but of course it was true. Something was happening to the human race.

That is what all old people think, she decided鈥�

When the first men arrived, she told them, there were mammoths, giant buffalo, giant horses, saber-toothed tigers, and giant bears. The American cheetah鈥攖he only animal on earth that could outrun a pronghorn antelope.

Her grandsons 鈥� went inside to watch television."

Jeanne: "Of course you wanted your children to have it better than you had. But at what point was it not better at all? People needed something to worry about or they would destroy themselves, and she thought of her grandchildren and all the grandchildren yet to come."

Eli: "That I鈥檇 done wrong was plain. I was not thick enough to believe I might have saved the ponies from Ranald Mackenzie鈥檚 troopers, but you could never say for certain. A single man can make a difference."

Eli: "Toshaway had been right: you had to love others more than you loved your own body, otherwise you would be destroyed, whether from the inside or out, it didn鈥檛 matter. You could butcher and pillage, but as long as you did it for people you loved, it never mattered鈥here is a myth about the West, that it was founded and ruled by loners, while the truth is just the opposite; the loner is a mental weakling, and was seen as such, and treated with suspicion. You did not live long without someone watching your back and there were very few people, white or Indian, who did not see a stranger in the night and invite him to join the campfire."

Peter: "To listen to the three of them talk about the death of Dutch Hollis, you might have thought there had been some accident, a lightning strike, flash flood, the hand of God. Not my son鈥檚. Had to do it, acted on instinct, the sheriff just nodding away, sipping our whiskey, my father refilling his glass.

Considered interrupting them to note that the entire history of humanity is marked by a single inexorable movement鈥攆rom animal instinct toward rational thought, from inborn behavior toward acquired knowledge. A half-grown panther abandoned in the wilderness will grow up to be a perfectly normal panther. But a half-grown child similarly abandoned will grow up into an unrecognizable savage, unfit for normal society. Yet there are those who insist the opposite: that we are creatures of instinct, like wolves."

Philipp Meyer is a remarkable writer. You really do not want to miss this big, absorbing saga. Meyer has written another novel, , which was likewise memorable, about living in the Rust Belt in Pennsylvania. These are, for the most part, books about men. But that is fine鈥攈e does this with great skill. I think I will always have Meyer on my list of must-reads.
Profile Image for Joy D.
2,834 reviews300 followers
March 24, 2020
鈥淵ou could butcher and pillage but as long as you did it for people you loved, it never mattered. You did not see any Comanches with the long stare鈥攖here was nothing they did that was not to protect their friends, their families, or their band. The war sickness was a disease of the white man, who fought in armies far from his home, for men he didn鈥檛 know, and there is a myth about the West, that it was founded and ruled by loners, while the truth is just the opposite; the loner is a mental weakling, and was seen as such, and treated with suspicion. You did not live long without someone watching your back and there were very few people, white or Indian, who did not see a stranger in the night and invite him to join the campfire.鈥� 鈥� Philipp Meyer, The Son

Epic saga of the American southwest, focusing on a Texas family from the 1830鈥檚 to the 1980鈥檚. Eli is the patriarch of the McCullough family. At thirteen, he is kidnapped by the Comanche and learns their ways. He eventually makes his way back to white society, and becomes a state ranger, a cattle rancher, and an early oil driller. Peter is Eli鈥檚 son. He is traumatized by a brutal feud with the neighboring Garcia family and feels out of step with the rest of his relatives. Jeanne Anne is Peter鈥檚 granddaughter. She is the heir to the McCullough fortune, an iron-willed woman attempting to gain respect in a male-dominated oil industry. Her life is filled with tragedy.

The three narrators鈥� stories are told in rotating sequence. As is typical in stories with multiple voices, some are more appealing than others. Eli鈥檚 coming-of-age with the Comanche is particularly well-crafted and compelling. Meyer vividly describes buffalo hunts, tribal rituals, and raiding parties, not sparing any gruesome details of the carnage. Peter鈥檚 journal becomes the voice of conscience for his family鈥檚 violence and corruption. Jeanne Anne鈥檚 segments are less captivating. She is necessary to bridge the gap between the previous generations and modern society, but her chapters are mostly bleak. It would have been nice to find bit more human compassion in the story.

This is a character-driven novel and I am impressed by Meyer鈥檚 ability to expertly weave the three storylines together, each elucidating the others. Themes include abuse of power, injustice, greed, entitlement, discrimination, and cross-cultural relationships. This is a book that dissects the legend of the rugged 鈥淎merican West鈥� and exposes its ugly foundations. While I did not enjoy it quite as much as his debut, American Rust, it came very close.
Profile Image for reading is my hustle.
1,629 reviews341 followers
February 23, 2014
Edit :: 02/20/14

After some consideration I have decided to link you to Will's review instead of writing my own. As is often the case, his review hits it out of the park.

This book. EPIC. I disappeared for a few days while reading it! I was late picking up a child. I passed on a night out with a friend. I kept my eyes down whilst walking my dog.

Real life?
So. Intrusive.

That's all I've got for now.


Profile Image for Paula K .
440 reviews408 followers
March 25, 2017
A beautifully written family saga I listened to via audiobook. Set in Texas and seen through the eyes of three generations, this story about the rise of Texas and the early frontier in America is a not-to-miss book. My favorite character was Eli McCullough. Starting with his capture at 13 years old by the Comanches, and bringing him through to his old age. What a larger-than-life character.

A definite 5 stars!

Profile Image for 桅蠋蟿畏蟼 螝伪蟻伪渭蟺蔚蟽委谓畏蟼.
411 reviews210 followers
August 8, 2019
危蠀渭蟺伪胃蔚蟼 魏伪位慰魏伪喂蟻喂谓蠈 伪谓维纬谓蠅蟽渭伪. 韦蟻蔚喂蟼 喂蟽蟿慰蟻委蔚蟼, 蟿蟻喂蠋谓 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 渭苇蟽蠅 伪蠀蟿蠋谓 蟿慰 蠂蟻慰谓喂魏蠈 蟿锟斤拷蟼 魏伪蟿维魏蟿畏蟽畏蟼 蟿畏蟼 螖蠉蟽畏蟼 萎 苇蟽蟿蠅 蟿慰蠀 韦苇尉伪蟼.
螖喂伪尾维味蔚蟿伪喂 纬蟻萎纬慰蟻伪, 伪谓 魏伪喂 胃伪 蟺蟻慰蟿喂渭慰蠉蟽伪 谓伪 苇位蔚喂蟺伪谓 魏伪渭喂维 200蟻喂维 蟽蔚位委未蔚蟼. 螝伪渭委伪 蟽蠂苇蟽畏 渭蔚 蟿慰谓 纬委纬伪谓蟿伪 螠伪魏维蟻胃喂, 尾蔚尾伪委蠅蟼.
螌蟽慰谓 伪蠁慰蟻维 蟿畏谓 伪渭喂纬蠋蟼 位慰纬慰蟿蔚蠂谓喂魏萎 伪尉委伪 蟿慰蠀, 伪蟽萎渭伪谓蟿畏. 螌蠂喂 蟺蠅蟼 伪谓苇渭蔚谓伪 魏维蟿喂 未喂伪蠁慰蟻蔚蟿喂魏蠈.
Profile Image for Jo茫o Carlos.
669 reviews307 followers
April 8, 2017

The Son - Dez epis贸dios com Pierce Brosnan (Eli McCullough) - Estreia em Portugal a 30 de Abril 2017







(Picture: Ian Dodds)

鈥淔errugem Americana鈥� (2011), primeiro romance do escritor norte-americano Philipp Meyer (n. 1974), foi um dos melhores livros que li em 2013. Uma hist贸ria que se desenvolve num cen谩rio americano de desintegra莽茫o econ贸mica e social, percorrido por uma galeria de personagens verdadeiramente inesquec铆veis; num 鈥減olicial鈥� negro, magistral, entre o amor e o desespero.
鈥淥 Filho鈥� (2013), segundo romance de Philipp Meyer, 茅 uma saga familiar que se desenrola no Oeste americano entre 1836 e 2012. Um relato de v谩rias gera莽玫es de uma fam铆lia ancestral, nos cen谩rios 茅picos do Texas, delimitados por uma imensid茫o des茅rtica, por desfiladeiros e rios selvagens, polvilhados por uma vegeta莽茫o densa e rasteira, onde deambulam homens e mulheres 鈥渋mperfeitas鈥�, bisontes e cavalos selvagens, brancos, 铆ndios e mexicanos; comboys, tratadores de gado e prospectores de petr贸leo, e onde as personagens n茫o apresentam princ铆pios morais ou escr煤pulos, nas suas ac莽玫es ou nos seus comportamentos.
A estrutura narrativa do livro desenvolve-se em cap铆tulos alternados, em diferentes per铆odos temporais e narrada pelo - Coronel Eli McCullough, mais tarde Eli/Tiehteti, por Jeanne Anne McCullough ou J. A. McCullough ou Jeannie, os di谩rios de Peter McCullough e no final por Ulisses Garcia 鈥� e em que temos o apoio da 谩rvore geneal贸gica da fam铆lia McCullough.
Mais importante do que escrever sobre as in煤meras personagens de 鈥淥 Filho鈥�, o que 茅 relevante 茅 referenciar as mem贸rias de uma fam铆lia, ora unida ora desunida, e as m煤ltiplas liga莽玫es estabelecidas entre homens e mulheres, com vidas suspensas por ressentimentos furiosos e sonhos desfeitos, e que v茫o evoluindo ao longo da narrativa, alternando momentos de normalidade e de excentricidade, num misto de tristeza ou de alegria.
O poder das rela莽玫es f铆sicas e mentais de todas as personagens, muitas vezes assentes no companheirismo e na solid茫o, s茫o determinantes, mas por vezes apresentam um grau de viol锚ncia atroz, com comportamentos obscuros e, aparentemente, inexplic谩veis, e que v茫o evoluindo entre sentimentos de culpa ou de remorsos.
鈥淥 Filho鈥� 茅 um livro brilhante, no estilo de Cormac McCarthy, sobre v谩rias gera莽玫es da fam铆lia McCullough num Oeste selvagem鈥�
Profile Image for Erasmia Kritikou.
329 reviews110 followers
January 17, 2021
螙蠅谓蟿伪谓萎 纬蟻伪蠁萎, 未蠀谓伪蟿蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼.
螤蟻慰蟽慰蠂萎, 蟽魏位畏蟻苇蟼 蟽魏畏谓苇蟼, 伪蟺慰渭伪魏蟻蠉谓蔚蟿蔚 蟿伪 蟺伪喂未喂维 伪蟺 蟿慰 伪谓维纬谓蠅蟽渭伪
Profile Image for piperitapitta.
1,033 reviews437 followers
April 10, 2018
Itaca.

Che si tratti di un romanzo epico lo si intuisce sin dall'incipit, da quel 芦Mi hanno profetizzato che sarei vissuto fino a cent'anni e siccome li ho compiuti non vedo perch茅 dovrei dubitarne. Non morir貌 cristiano, ma il mio scalpo 猫 intatto e se esiste un terreno di caccia eterno, l矛 sono diretto禄 che si annuncia leggendario e indimenticabile.
E se penso a un romanzo epico, al "grande romanzo americano", definizione che ho visto pi霉 volte accostata a questo romanzo, per associazione di idee, penso a 芦禄.

description

Ecco, non penso di fare un dispetto a Meyer se dico che il primo grande romanzo americano, veramente epico, al quale mi ha fatto pensare 芦Il Figlio禄 猫 proprio 芦La Valle dell'Eden禄.
Il paragone finisce qui, per forza di cose, vista l'incapacit脿, da parte mia, di proseguire con quella che dovrebbe essere un'analisi critica comparata, anche se alcune similitudini - non ultime l'epopea generazionale che sia Steinbeck che Meyer scelgono di narrare, attraverso le quali narrare i mutamenti sociali che portano, come le tessere di un mosaico, alla formazione del Nuovo Mondo, e quel senso biblico, a volte impercettibile ma sempre presente, che permea le pagine del romanzo - mi fanno credere, al di l脿 del valore oggettivo delle due opere ("La Valle dell'Eden 猫 sicuramente un capolavoro), di non aver osato troppo nel cercare di intuire (e forse cogliere) le intenzioni dell'autore.

(continua - primo esperimento di commento a puntate)




Debole nei dialoghi (per parlare subito di quello che, a mio parere, forse 猫 l'unico vero difetto), forse spesso troppo banali e didascalici, 芦Il Figlio禄 猫 un romanzo che cattura sin dalle prime pagine in maniera prepotente e avvincente; persino chi, come me, non pensava di appassionarsi a un romanzo che narra una storia "di frontiera". (E cos矛 mi affretto a recuperare 芦Butcher's Crossing禄 e la trilogia di McCarthy)
La struttura a pi霉 voci, che alterna tre generazioni di McCullough, proprietari di uno sterminato ranch nei pressi del confine messicano, attraverso uno spazio temporale che va dall'Ottocento fino al secolo scorso, costruisce la storia di questo romanzo grazie a un continuo susseguirsi di eventi che vanno avanti e indietro nel tempo, e contribuisce a mantenerla sempre viva, vibrante, evocativa, romantica e appassionata.
Il Texas occidentale, dunque, terra di frontiera.
Terra di bisonti e di Comanche, di ranger e di anglo, di tejanos e di messicani, di scalpi e di stupri, teatro di guerra di Secessione e guerra con il Messico.
E poi il Texas del petrolio.
Terra di pozzi e ricchezza improvvisa, terra brutalizzata e snaturata, terra in cui alle mandrie e ai vaqueros si sostituiscono squadre di operai e giochi di potere.
Il Texas, la terra dello Spindletop e de Il Gigante, film e romanzo che fanno capolino, fra le righe, in un nemmeno troppo velato omaggio all'autrice Edna Ferber.
Infine il Texas degli uomini, tejanos, appunto, ma anche di forti contrapposizioni culturali, sociali, naturali.
Messicani contro anglo, anglo contro tejanos, i Comanche contro tutti. E tutti e tutto contro i Comanche.
E poi i fiumi, le praterie, i cavalli selvatici, la linfa dei pioppi, una natura selvaggia ma amica, una natura fonte di ricchezze e di vita, ma anche di morte.

(continua - domani l'ultima puntata)

description

E poi i McCullough.
Il capostipite, il Colonnello: prima Eli, poi Tiehteti, prima anglo, poi Comanche, poi鈥�
Personaggio enigmatico, affascinante e brutale.
Peter, figlio di Eli, il mio preferito: sognatore, romantico, uomo nel senso vero del termine, l'unico attraversato da un senso di giustizia universale, che prevarica ogni senso di appartenenza a ogni razza, a ogni trib霉, a ogni famiglia.
E infine Jeanne, nipote di Peter, la donna del futuro che si fa largo in una terra e in un mondo di uomini.
Quindi, una storia di uomini, e di donne, ma soprattutto la storia di una terra conquistata, combattuta, sfruttata e disputata.
E infine il figlio, del quale non dir貌 nulla.

(fine)

description
Profile Image for Tj.
207 reviews8 followers
December 10, 2013
Well, I finished. I read it through to the end. I have to apologize to my friend Diane for giving her the bad advice to snap up the ARC of this that we saw at a book event (because I had already snapped up my ARC at a previous event). This novel has had so much buzz! I listened to and read so many, many positive reviews and I can say that for the most part, I can understand all the buzz. This novel is epic. The subject matter is very interesting (the settlement of Texas) and there were two characters that I found sympathetic. But it's a dude book. Again, I picked a dude book. Not just because it is astonishingly vulgar but this author doesn't have a good sense of what it's like to be a woman. I have new appreciation for male authors that can inhabit their female characters. The characters and their relation to each other was so confusing. If I had a dollar for every time I had to page to the front to double-check the family tree I'd be wearing Louboutins right now.
Profile Image for Lisa (NY).
1,980 reviews792 followers
September 7, 2020
The Son is a ruthless, involving account of a Texas family whose empire was gained through violence, exploitation and luck. Covering several generations, this novel is a mini-history of the American West. The focus is on three McCulloughs: Eli, born 1836, Pete, born 1870 and Jeanne born 1926. All of them are forced to make immoral choices to keep their empire. Of the three, I found Pete, who struggled with his family's brutal legacy, the most interesting.
Profile Image for switterbug (Betsey).
915 reviews1,377 followers
June 17, 2013
Epic, savage, surly, and brimming with ideas, Philipp Meyer's sweeping historical tale of Texas demands shelf space with Cormac McCarthy and Larry McMurty. Like his predecessors, Meyer illustrates the ruthless, violent forms of blood-spilling murder it takes to build the future of a land. Death begets life.

People are conditioned to believe in their rights of land possession, and history point fingers at those who stole land from those that used to occupy it. Wars are fought over territory, and arguments continue on the authority of the privileged. But, as Meyer blazingly illuminates, the rights of possession were stolen from others, who scalped it from others, who poached it from others...

"...he thought only of the Texans who had stolen it from his people. And the Indians from whom his people had stolen it had themselves stolen it from other Indians."

"The Americans...They thought that simply because they had stolen something, no one should be allowed to steal it from them."

Told from the perspective of three narrators representing three generations of the Texas cattle baron and then oil baron McCullough family, and spanning the 19th-21st century, the tale takes the reader on a ferocious adventure of the birth and expansion of the Texas frontier. The legacies of fathers to sons (and one narrator, a daughter) are tough and soul scorching. The prose is as muscular and sinewy as a prized thoroughbred, the story as pitiless as a rattlesnake in a desert. And yet, there's an undulating tenderness, a tremendous amount of empathy that is elicited from the reader.

"A man, a life--it was barely worth mentioning. The Visigoths had destroyed the Romans, and themselves been destroyed by the Muslims. Who were destroyed by the Spanish and Portugese. You did not need Hitler to see that it was not a pleasant story...The blood that ran through history would fill every river and ocean, but despite all the butchery, here you were."
Profile Image for JanB.
1,308 reviews4,050 followers
March 25, 2017
3.5 stars, rounded up

I'm not going to go into the plot of this 4 generation saga since many before me have done a better job than I could hope to do, plus the GR synopsis tells you all you need to know. I listened to the audiobook and Will Patton and Kate Mulgrew were phenomenal. They definitely increased my enjoyment of the story. And what a story it is.

After a very strong start, I thought it would easily be a 5 star read, but the middle felt a little bloated and my interest flagged a bit. Not uncommon for a book that is 600 pages long and nearly 18 hours of listening time. I would still highly recommend the book.

I'm looking forward to the AMC series starting April 8, starring Pierce Brosnan as Eli McCullough. Eli is definitely the star of the book - but not likable - and it will be interesting to see how Brosnan interprets the character.
Profile Image for Rebecca.
4,044 reviews3,350 followers
January 30, 2016
(4.5) Meyer鈥檚 sweeping Western saga about one Texas family 鈥� ranging from the 1840s to the present day 鈥� brims with violence and philosophical tension. Like Cormac McCarthy鈥檚 Blood Meridian, The Son is a gory Western that transcends the simplistic cowboys-versus-Indians dichotomy to draw broader conclusions about the universality of brutality in a nihilistic world. Encompassing every American conflict from the Civil War through to Iraq, it presents a cycle of warfare that鈥檚 as old as the fossils and arrowheads buried in the Texan soil.

This momentous American story ranks among the best novels of the new century.

(See my full review at .)
Profile Image for Michael Finocchiaro.
Author听3 books6,131 followers
September 8, 2021

I nearly gave this book 5 stars, but despite loving the description of Eli's three years as a captured Comanche and his life in the tribe, I was disappointed by his lack of spiritual evolution later in life. The story is layered with the narratives of Eli in the 1870s, his grandson, Peter in the 1910x, and his great-granddaughter in the 2000s. The family fortune is built by Eli following his return from exile with the Indians and tours as a Ranger killing Indians and a Confederate soldier killing more Indians and Union soldiers to make some key purchases of land for raising cattle. During Peter's lifetime, the search for oil obsesses the family and leads to tragic conflict with their Mexican neighbors. During Jeannine's pampered life, the McCoullogh family having become fabulously wealthy thanks to the oil business sees the male line dying out in her family and her own grasp of the business matters slipping. There is a small twist at the end, but I'll leave that for you to discover. I thought that the Eli and Peter storylines were strong (again despite the lack of evolution in Eli), but the Jeannine one was a little weaker. It is still a strong and compelling book that narrowly lost the Pulitzer to , perhaps deservedly so, in 2014. Nonetheless, if you like stories such as or , you will probably enjoy this one a lot.
Profile Image for Robert.
27 reviews3 followers
August 13, 2013
I started off enjoying the book and was not surprised to learn that Philipp Meyer is influenced by James Michener. I had great hopes that the book would develop into that type of sweeping saga. However by halfway through I was forcing myself to finish it. This multi-generational saga is recounted by three members of the family, but the author does not succeed in really giving them individual voices. The style of all three is very similar and a lot of the writing is done in a trance like style. Peter's chapters could have done with some vicious editing. The story line was thin and his character was not developed. With the exception of Eli, none of the characters develop properly. The JA that emerges from the pages is just not credible as the hard-driving, highly intelligent person she must have been to achieve what she did. Other than Eli's time with the Comanche, none of the characters develop any real relationships with another human being.
On the positive side, I really enjoyed learning about 19th century Texas and the lives and customs of the Comanche. Although I suspect his description of the sexual habits of the Comanche are wishful thinking. It is not clear to me how Eli could have been a decent man among the Comanche, developing real relationships and loyalty, yet not be able to achieve that in his later life with his wife or any other family member or friend.
This is certainly not the Great American Novel, although it did have potential.
Profile Image for Laura.
869 reviews317 followers
April 29, 2019
Update: season 2 started yesterday April 27th, 2019 the series is on AMC starring Pierce Brosnan.

I loved this book immediately. The characters pull you in and keep you interested from beginning to end. Thankful that the author included the family tree, I frequently reminded myself who was who. Highly recommend this read!
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