Descripción editorial
The New York Times bestselling Western from Robert B. Parker
Everett Hitch and Virgil Cole are lawmen and friends who share the brutal hardships of an emerging West. But the courage that has defined them is challenged by a man without conscience or remorse. Now, Hitch and Cole have followed him to the small town of Appaloosa.
What follows is a dance of wills where villains are cast in shades of grey, where heroes hide in the blackest shadows, where women can betray with frightening ease, and where Hitch and Cole will discover the price of responsibility, honor, and loyalty in the Old West.
PUBLISHERS WEEKLY
A starred review indicates a book of outstanding quality. A review with a blue-tinted title indicates a book of unusual commercial interest that hasn't received a starred review.APPALOOSARobert B. Parker. Putnam, (320p) It's been years since Parker has won a major literary award for a novel (he did collect a Grand Master trophy from MWA in 2002), but that may change with this stunning western, a serious contender for a Spur. This is only Parker's second western, after the Wyatt Earp story Gunman's Rhapsody (or third if you count the Spenser PI quasi-western Potshot), but he takes command of the genre, telling an indelible story of two Old West lawmen. The chief one is Virgil Cole, new marshal of the mining/ranching town of Appaloosa (probably in Colorado); his deputy is Everett Hitch, and it's Hitch who tells the tale, playing Watson to Cole's Holmes. The novel's outline is classic western: Cole and Hitch take on the corrupt rancher, Randall Bragg, who ordered the killing of the previous marshal and his deputy. Bragg is arrested, tried and sentenced to be hung, but hired guns bust him out, leading to a long chase through Indian territory, a traditional high noon (albeit at 2:41 p.m.) shootout between Cole's men and Bragg's, a further escape and, at book's end, a final showdown. Along the way, Cole falls for a piano-playing beauty with a malevolent heart, whose manipulations lead to that final, fatal confrontation. With such familiar elements, Parker breaks no new ground. What he does, and to a magnificent degree, is to invest classic tropes with vigor, through depth of character revealed by a glance, a gesture or even silence. A consummate pro, Parker never tells, always shows, through writing that's bone clean and through a superb transferal of the moral issues of his acclaimed mysteries (e.g., the importance of honor) to the western. This is one of Parker's finest.
