When a Western is great it can be transcendent, and when it’s bad it can be downright offensive. Shane is one of the greats. And it’s more timely than ever — a story of guns and non-violent resistance in a world where government-sanctioned settlements are displacing ranchers, who in turn had displaced native tribes. When the ranchers feel the squeeze, they resort to violence and terror, leading gunslinger-turned-farmer Shane to take up arms again.

When Shane kills, though beneficial to the homesteaders in the short term, there isn’t resolution to the larger issue of whether the homesteaders are really in the right and whether there’s a place for gun violence in otherwise civilized communities. Shane desperately wanted to live without his gun, giving it up for weeks and turning the other cheek. But after he chooses to use it again, he goes into self-exile, riding off into the sunset. It’s as if he can’t reconcile gunslinging and remaining in a community. And yet, when it comes to protecting your property — albeit in a community — the threat of violence is not uncommon.

Of course the gun debate rages more than ever in America today. And guns are still ubiquitous in our storytelling, even if Westerns aren’t as prevalent these days. Wait…who was that masked man…with the water pistol?

Yeah, that’s me. Cute? Harmless? Debatable? Some storytelling truly wrestles with the role of guns (as Shane does) and some of it is just crap. As an actor, it’s no surprise that I’ve wielded a gun in a number of films — always as the bad guy interestingly — where I’ve been driven by greed, jealousy, and unbridled corporate control. Power and property — not today’s bugaboo of mental illness — are at the root of so much gun violence. Sadly, that violence seems to reflect human nature in a society where status and ownership are so contentious. Should we just accept the role of guns in that violence? Do we not value human life more than that? Will the Wild West paradigm of “justice” live on in America and elsewhere?

Photo by April Choi

What if Shane had not used his gun? Would the homesteading Starrett family have been run out or worse? Yes, the claim these homesteaders made on the land was encouraged and approved by the U.S. government — and the rule of law is important — but on any frontier or border, there isn’t just one law. As much as I try to imagine a world without borders, there will always be at least two sides to every story, with a lot of gray area in between. What would a re-telling of Shane look like from the perspective of Fletcher the rancher? Rather than sympathizing with the homesteaders, I bet we’d sympathize with Fletcher’s actions to defend his land against the unfair, though lawful, incursion of homesteaders.

At the end of the day, no matter what side you’re on, we share some stories in common, and protecting what’s yours is just one of them. That’s the genius of this BBC radio production of Shane. Unlike the film or the original novel, the radio version is told from Marian’s perspective, making it a touching and refreshingly human tale of a family — and a marriage — struggling to survive, no matter what side of the gun or land debate you stand on.

I’ve always felt especially drawn to Westerns because some of my ancestors lived the non-Hollywood version of it. Here’s my great-grandfather, Delmar Mash, driving his team of horses from Utah to Colorado for his freighting business. If I’m getting this right, Delmar remembers, as a young boy, looking out the back of a covered wagon as his family made its way west to Colorado.

Below are Delmar’s three sons (from left to right): Clarence, Lawrence (who ranched all his life on Grand Mesa), and my grandfather, Cecil Mash.

And here’s the woman Cecil married, my grandmother, Florence Milly, the teacher at a one-room schoolhouse. Florence and Cecil weren’t married yet when this picture was taken, but Cecil was the older brother of two of her students.

Getting nostalgic and doing a Western for the radio might have taken me way back in time, but after recording Shane, I attended a post-wrap dinner at the Mondrian and that brought me right back to reality — or at least the ersatz reality of the Sunset Strip. As the valet retrieved my rented two-door lime-green Ford Fiesta, a Lamborghini roared up just in front of it. “Tonto, I’ve a feeling we’re not in Colorado anymore.”

Whether it’s Los Angeles or London (where I’ve staked my claim), it ain’t exactly the Wild West. But hey, the UK does actually have wild ponies, which some friends and I “bravely” approached on Dartmoor.

And believe it or not, I’ve seen people ride off into the sunset in the UK, as I did recently on Rhossili Bay beach in Wales.

See how I did that, moving from guns to grandparents to horses? Now that’s a much happier ending. Yeehaw!

(Un)related posts:

• My Flickr sets for Washington State (where I grew up), Colorado, New York, Devon, and Wales.

The plot of Martian Time-Slip concerns a land speculation scheme, tensions over water-use between the settlers and the native population (another thing reflective of America’s over-developed frontier), an autistic child who can time-shift and learns to manipulate these shifts, and a whole host of marital infidelities. Not atypical of Dick’s work from the mid-sixties, marital infidelity and commitment are major themes. One interesting theory put forth is that mental illness is actually a different conception of time. This does not in itself undermine Dick’s broader point that we are all on a path toward mental illness. In a liquid world, time itself is more fluid. Perhaps it is our inability to synchronize our various clocks that make everyone look insane to us. But for now, I am concerned with the nature of the frontier and the reason for its sorrows.

The story opens with a housewife taking drugs to get through boring days with an absent husband. By the end of the novel, adultery will help waste the time, but for now the character mopes. “Feeling more and more guilty, she filled a glass with water in order to take her morning pill. If only Jack were home more, she said to herself; it’s so empty around here. It’s a form of barbarism, this pettiness we’re reduced to. What’s the point of all this bickering and tension, this terrible concern over each drop of water, that dominates our lives? There should be something more. . . We were promised so much, in the beginning.” It is likely that settlement was a bad idea to begin with. There is little evidence that Mars is suitable for habitation (at least in the novel’s universe). Like the residents of Chicken Pox Prospect in The Three Stigmata of Palmer Eldritch, most of the time is spent keeping equipment working, growing crops, and maintaining sanity through whatever external pleasure they can find.

Dick blames three sources for the poor conditions on Mars. The people themselves are not horrible. Again, as in Chicken Pox Prospect, there is a real effort at community. Solidarity indeed exists. The main character, Jack Bohlen, continually shows his capacity for self-sacrifice by sharing his skills with neighbors and even the native “Bleekmen.” Instead, it is capitalist speculation, the machinations of the state, and racism toward the native people that degraded conditions on Mars. In the vast majority of Dick’s work, even if the nature of reality is flexible, changing, or uncertain, the enemy is usually clearly identified. The ones sustaining the empire of lies always come from the powerful. In this novel, it is not lies they are after, but rather a brutal exploitation of a vulnerable settler population.

Starting with racism, we wonder if Dick modeled the Martian racial policy on South Africa or the Australian outback. As one character complains, the U.N. attempted to impose some more benevolent policies, energizing settler resistance. “However, we have this problem that we can’t pay any minimum wage to the Bleekmen niggers because their work is so inconsistent that we’d go broke, and we have to use them in mining operations because they’re the only ones who can breather down there.” This settler hostility to the native population seems to be a byproduct of the exploitation of the massive landowners and the Earth government, which would like to see the colony turn a profit. The U.N. is able to sustain its control through the supply of water to the colonies. This is actually quite tragic because the natives understand well how to make use of the local environment. As a servant of a major character shows more than once, his knowledge of the land and its powers had the potential to create a more prosperous colony. However, the Bleekmen were systemically destroyed or enslaved for tasks like mining, which had only an extractive purpose, benefiting no one who actually lived on Mars.

Not only is this traumatic for the Bleekmen, it destroys knowledge. As one reminded the settlers, “Formerly, when one wanted water, one pissed on the water witch, and she came to life. Now we do not do that, Mister; we have learned from you Misters that to piss is wrong. So we spit on her instead, and she hears that , too, almost as well. It wakes her, and she opens and looks around, and then she opens her mouth and calls the water to her.” The U.N. was part of a civilizing mission, but that mission seems to have undermined one of the traditional ways the native Martians acquired their water. Rather than tapping into this indigenous system, the settlers were bound to the oppressive and extractive U.N. apparatus.
It seems to me that in this world, the regimen of racial domination is largely a byproduct of other external forces. The end of the novel suggests hope for a new relationship with the Bleekmen, thanks to the autistic time-slipper. However, the overall power structure that seems to inadvertently caused the near genocide of the native people remains in place. From Dick’s perspective, it seems that the Bleekmen and settlers have much in common and would benefit from rethinking their relationship.

A real plan for Martian suburbs. “Mars One”

via Spain Is Beyond Doomed: The 2 Scariest Unemployment Charts Ever – Matthew O\’Brien – The Atlantic.

via On the Practical Exercise of Power – or why the Old White Dudes keep winning | The Bucky-Gandhi Design Institution.

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The 8 room hotel was built to serve cowboys who drove their cattle to the railroad and ranchers who would stay the night after purchasing supplies at the mercantile. The town only boomed for a few years and then in the 1910′s the hotel and the town began to die off. The Campbell family left to make a new life in the big city of Montana. They travelled as many miles as they could each day with the family and livestock and would sleep in hay stacks at night. Except for the one night when they reached Loma Montana and got to stay in “luxury” at the one room schoolhouse there.

Early 1900s 1 room schoolhouse at Loma, Montana

That’s the thing I love about getting out and taking these historic photos so many of which are close to my home in Havre Montana. I get to meet the people who lived that history and it brings these old places to life for a little. Its also a driving force behind why I take so many of these historic style photos. To help preserve and protect these places for once the people are gone if those structures are gone as well then those memories and our shared history are lost forever. I am getting very serious about bringing attention to these structures to find agencies or private individuals (since many of them are on private land) to preserve these beautifully haunting structures that represent a time when this nation was being built. I hope through sales of my pictures, this blog, and shows that I do to raise awareness and funds to keep the pioneering spirit and relics of the past was fading away and being lost in time.

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STRANDED…OR TAKING A STAND?

BY ANTHONY FRANCIS

A year and a half ago, my editor Debra Dixon asked me to write a story for a science fiction anthology about young people cut off in space and forced to deal with the challenge of creating their own new world. I jumped at the chance. For years, I’d been sitting on a drawing of a young centauress explorer trotting across fields of wheat towards impossible mountains, and I’d already constructed an elaborate setting called the Frontier where humans eked out a rough existence on sparsely scattered worlds on the ‘underside of the galaxy.’ As soon as I put the two together, I found an extended storyline blossoming in my mind—not just a short story, but books and books about my young protagonist Serendipity coming into her own.

After talking it over with Debra, I focused just on the start of Serendipity’s story: how she crossed paths with a Frontier starship crewed by refugee children who crashlanded on a world she wanted to claim as her own. But the story quickly went in directions I didn’t expect. The young Frontier boy I created to be Serendipity’s love interest, Sirius, surprised me by being gay. My intended villain in the story, the young captain Leonid, surprised me by falling for Serendipity, and she for him. The interpersonal relationships developed rapidly in directions I didn’t expect, and minor characters took on major importance as Serendipity and the Frontiersmen struggled to survive on this unexpectedly hostile world.

But the biggest surprise was that my action story hinged on a moral choice.

We live in a world filled with technological wonders, like spacecraft, computers, and robotic toys—and it’s fun to imagine a world where those delightful things are taken to the Nth degree, like Serendipity’s farstaff that took her across the galaxy, or the computer woven into her brain, or the robot pet Tianyu, her intelligent companion (and external conscience). But most of us are aware these delights are fragile, depending on a complex web of knowledge and industry and a tradition of cooperation: we live in a world only two generations away from the Stone Age.

What’s harder to remember is that we live in a world of civil wonders, like the right to move, to vote, and to express our opinions—and it’s scary to imagine a world where those things are taken away, where we can’t go where we please, where we have no say in what happens, where we’re not allowed to speak up. Few of us like to think about how our rights are fragile, depending on institutions and principles that can disintegrate with shocking rapidity: we live in a world only two days away from martial law, and two years away from a complete societal overthrow.

My Frontier was already a disintegrating wreck, so I made Serendipity is a historian to give her a broader perspective. Soon I found that Serendipity carried more with her than the contents of her satchel: she carried with her the seeds of a civilization, a highly advanced supercivilization I portrayed as having spread across the galaxy—and logically speaking, its morals should be as highly developed as its technology.

So when my characters were thrown together on this world, and things grew increasingly bleak, I decided I didn’t want Serendipity trapped by a shipwreck, like Robinson Crusoe. I presented her with the seeds of a brewing disaster, as the boys and girls of the ship turned on each other, and I wanted her to realize, through her historical knowledge, how sour things could turn if left unguided—and to decide that what she carried within her was far more important than any first aid kit.

I didn’t want her trapped by physical circumstances. I wanted her to make a choice.

The result is the story “Stranded,” the final story in Debra’s anthology of the same name. There are two other stories in the anthology, “A Strand in the Web” by Anne Bishop and “A Host of Leeches” by James Alan Gardner. Each one of these stories centers on a young person in the far future, and presents them with difficult moral choices, choices which they must ultimately resolve for themselves without adult guidance. I’m proud to have my story in this anthology: to have a chance to start off Serendipity’s story, not with her stranded, but with her taking a stand. To deal with Debra’s challenge not because she had to—but because it was the right thing to do.

I hope you enjoy it.

Anthony Francis is the author of The Skindancer Series.  Sometimes tattoo magic is the strongest magic of them all.

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If you are graduating within six months, or have graduated in the past two years from any accredited two or four year university, college, junior college, graduate school, or working toward or have attained an LVN, LPN or RN from a school of nursing you are eligible for the discount. This discount also applies if you are a current Graduate Student. If you fall into one of these categories, you simply visit the Nissan College Grad site at www.NissanCollegeGrad.com, and click on “Get your College Graduate Preferred Pricing Certificate” and get ready to go shopping. The Certificate is good toward the purchase of a 2013 Altima, Altima Coupe, Rogue, Sentra, Versa Hatch, Versa Sedan (other than the S trim), Juke, Xterra, Frontier and Cube.

The Nissan College Graduate program makes the buying process easy with its “no haggle, no hassle” approach. Even if you have never financed a vehicle before, Nissan also helps to provide a manageable interest rate to help you start building your credit. Keep in mind that you do need to already be employed or have employment in place within 90 days of your purchase, but Nissan does have the option to defer your first payment for 90 days as well. All offers are contingent on approved credit and valid auto insurance.

For more information on the program, you can visit the Nissan College Grad website, and then once you print out your certificate, you can shop online at www.PermianNissan.com. While you are there, you can browse our great inventory of new Nissans as well as schedule a test drive or request more information. If you are in the area, you can also stop by Permian Nissan, conveniently located at 800 North Turner Street in Hobbs. Permian Nissan wants to congratulate all the recent graduates as well as those getting close to graduation and we look forward to helping you find the perfect Nissan for you!