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One of the main premises of the book—and of Tex’s life—is that there is always the conundrum of whether to stay in the place in which one grew up or to leave for ostensibly larger vistas and bigger dreams. Typically speaking, the idea of staying in a small town is conflated with limitations and lowered expectations, while the notion of leaving promises greater opportunities and rewards. This belief, however, is not the case for Tex. He often thinks that, wherever it is that promises happiness—whether Garyville, Oklahoma or off to college or in the city—should be considered home. At one point, he disagrees with Mason’s criticisms of Lem’s decision to marry and start a family young, “I didn’t think he was right, because if you were where you wanted to be—even married and a daddy and in Garyville—you weren’t stuck” (113). For Tex, freedom is to be found in hunting and fishing and marrying your sweetheart in the same small town in which you were raised.
From the time the fortune teller reads Tex’s palm at the Fair, her fortune becomes a mantra for him: “Your next year: change. My best advice: Don’t change. Your future: There are people who go, people who stay. You will stay” (39). He thinks about this advice for the remainder of the book, and he starts to classify people according to whether they are ones who will leave or ones who will stay. When his first romantic encounter with Jamie ends in frustration, he immediately says to her, “I forget […] You’re one of them that’s going” (159). Even his brother tells him that he and Jamie aren’t right for each other. When Tex protests that he doesn’t care about the difference in their socioeconomic backgrounds, Mason responds that these distinctions have nothing to do with their incompatibility: “It’s because you’re Tex and she’s Jamie. Money has nothing to do with it” (105). In this instance, kindred souls recognize one another. Mason himself is one who will leave, as Tex readily points out: “There were people who go places and people who stay, and Mason was going. I was afraid of that” (48).
By the end of the book, that fear has dissipated: Tex has both matured and accepted the destiny foretold by the fortune teller—for both brothers. He freely gives Mason his blessing to accept the scholarship to college and happily makes plans to go fishing in the morning. Garyville is good enough for Tex. As he says earlier in the book to his best friend, “Johnny, there are people who go places and people who stay, and I think we stayers ought to stick together” (82). Indeed, even on the final page of the book, as Tex contemplates his future and promises to drive Mason to the airport, he repeats his refrain one final time: “There are people who go places and people who stay...” (211). In the final ellipsis, Tex remains thoughtful about his own future—in his own small town.
Tex’s crush on Jamie examines traditional gender roles and the ways they play out and are questioned within the novel, written in the late 1970s. On the one hand, the reader witnesses Lem—17 or 18 years old—with a wife and son. On the other hand, Jamie demonstrates how traditional gender roles are changing rapidly. Jamie’s professed love for Tex never gives way to a sexual encounter, which could lead to pregnancy, or even to a long-term romantic relationship, which would endanger the independent future she sees for herself. Jamie’s feminism complicates Tex’s “Romeo and Juliet” fantasies about their relationship.
When Lem shows up at the McCormick’s house to tell them about the birth of his baby son, there are mixed reactions. Mason says, with “a streak of serious in his voice,” that another Lem Peters running around may not be a prudent idea (57). Lem himself appears excited, but he has left his young wife and baby at home—indicative of his inexperience and inability to be fully present. This lack of presence is solidified later as the reader learns of his risky and foolhardy endeavors in the drug-dealing world, a precarious venture for a young father. His traditional views are further cemented when, provoked by Jamie, Lem remarks, “I think women ought to stay home and take care of their husbands and kids” (64). Lem’s views on gender roles and marriage contrast with Jamie’s “women’s lib stuff,” as her brother Johnny labels her beliefs (64).
As the single female character apart from some teachers at school, Jamie remains outspoken. She speaks out against patriarchal values and speaks for her own independence solely in the presence of men. Her response to Lem’s retrograde comment is to double down: “Jamie’s eyes widened, then narrowed down like a fighting cat’s” (64). She proceeds to excoriate Lem’s wife’s potential mothering skills, young as she is. Later, Jamie tells Tex exactly what she thinks of how she is perceived by her father and most of the men in her life: “And me. The little lady. Cole has the hardest time understanding that I’m a person, just like the rest of his kids [her brothers], that being a girl doesn’t mean I’m going to be sweet and dainty and grow up to be a devoted little mother” (148). Jamie has different plans for herself, therefore she continues to keep Tex at arm’s length—literally.
The gender roles in the novel also play into the matter of consent in the novel. Before Tex asks Jamie out on a date, he asks his brother for advice: “Mace, when you’re making out with a girl and everything, how can you tell if it’s okay to go further?” (103). Mason essentially shrugs the question off: “You know, that’s all. If you make a mistake, she’ll let you know” (103). In an era when consent is key, the exchange is dated. Jamie is strong-willed and her boundaries are generally respected. Changing expectations regarding gender roles are revealed not only through Lem’s ultra-traditional views and Jamie’s formidable sense of independence, but also through the shifting cultural lens with which intimate interactions are negotiated.
Animal similes and comparisons describe the characters and relationships of the novel. Tex’s relationship to his horse, Negrito, is key to the ensuing action of the story, and the frequent use of animal-related associations emphasizes that, through Tex’s eyes, animals and humans are more similar than they are different. This view also serves to reinforce Tex’s connection to nature and his innocent personality: He sees people and events through the lens of the natural world, particularly animals, and he is drawn to their simplicity. Horses, puppies, kittens, and other animals crop up to describe everything from drunken boys falling into a pile to his crush Jamie’s facial expressions.
Tex himself is often compared to animals, as when he is “quick as a snake” (14) in his fight with brother Mason. He is talked about “like a dog” (23) when his friends are worried about him, patted on the head “like a puppy” (29) when Mason tries to make up with him, and in “the city,” he feels “like a caged animal” (97). He also wonders, after Negrito is gone, “if Mason could get a good price for me, I wondered how long it would take him to make out the bill of sale” (26)—as if he were also livestock. Tex and Johnny, after they accidentally get drunk, “flopped together like puppies in a litter” (45). His brother Mason “eats like a horse” (54). And, though clichéd, it strikes a note: Tex handles horses well, and the implication is that Tex can also handle his brother. It is also ironic, in that Mason sells the horses to get money for groceries.
When it comes to Jamie, she “probably feel[s] like a kitten to the touch” (64), and Tex thinks that holding Lem’s baby “wasn’t all that different from holding a puppy or a kitten” (108). Puppies and kittens are innocent creatures, and this is how Tex sees both Jamie and the baby. Later, as Jamie becomes more complex, “[s]he look[s] at [Tex] with the eyes of a wicked colt” (147). This change implies that Jamie will be a substitute for his lost Negrito, once his favorite companion. When he and Jamie make out, he returns to the earlier metaphor, but this time the kitten has grown up: “In the cold starlight her eyes glittered like a cat’s” (156). Tex himself cannot calm himself when he sees her, as his “heart would spook and take off at a pounding gallop” (163). Again, she is the primary focus of his affection after losing Negrito.
Tex’s fondness for animals, his love for Negrito, and his tendency to see humans as various animals—in a reverse anthropomorphizing—is explicable by his desire to see things simply. As he reflects on recent events he says, “[l]ove ought to be a real simple thing. Animals don’t complicate it, but with humans it gets so mixed up it’s hard to know what you feel, much less how to say it” (211). While he is speaking to Mason as he thinks this, it also reflects on his love for Jamie. For Tex, his love is simple and straightforward, but for Jamie, it comes fraught with consequence.
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