Jack Ruby and the Origins of the Avant-Garde in Dallas
And Other Stories
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- USD 9.99
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- USD 9.99
Descripción editorial
What really (might have) happened when Jack Ruby, nightclub owner, brass knuckle-slinger, and inveterate fan of Corbusier, decided to kill the killer of JFK? In this first-ever trade publication of Bob Trammell’s work, Jack Ruby mythos loops between fact, fiction, and spectacle to satirize Dallas’ place on the world stage. Jack Ruby & The Origins of the Avant-Garde in Dallas caricaturizes everyone from Bob Thornton to Joseph Beuys; fodder for JFK conspiracy theorists, innuendo-readers, ingenious speculators, and pursuers of The Truth About Dallas At Large.
With an introduction by Ben Fountain and afterword by David Searcy, this volume also includes Trammell’s “Quiet Man” story cycle from over the course of his long, countercultural writing career, lamenting a generation that lost much by embarking on a search for themselves in a city—and world—unwilling to support its brightest artists.
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The title novella in this piquant double-decker volume from Trammel, who died in 2006 and was primarily a poet (Queen City of the Plains), transforms Jack Ruby from a murky footnote figure into a bold mover and shaker. The other 22 stories, originally collected under the title The Quiet Man, feature other larger-than-life citizens of Dallas. Trammell gives his characters vivid, evocative names like Oak Cliff Benny (a barfly who shows up in "D.J.'s Trial," "Waiting," and other stories) and Jimmy Ace (the heavy-drinking salesman in "Boredom" and "Unintended"). Even the historical figures who show up are imbued with the texture of fiction, like Mr. Thomas Y. Pickett, whose 1930 replica of George Washington's Mount Vernon figures into "Benjamin Murchison Hunt Smith." The stories are lively and colorful, but taken together, they can feel repetitive. The novella, told in short chapters full of rumors, factoids, and stark black-and-white photos, is the crown jewel, and it's made convincing by its audacity ("Jack Ruby was like Dallas's Andy Warhol before Andy Warhol was Andy Warhol," Trammell writes). Here, Jack is a major supporter of local culture and something of a reprobate, with an equal interest in art and exotic dancers. Trammell's riffs on Ruby and the less glamorous corners of Dallas coalesce into a winning portrait.
