A few weeks ago on this blog, I declared Denis Johnson’s Train Dreams a perfect novella, a claim that I feel even more certain about after listening to Macmillan audio’s new production of the book, read by Will Patton.
Precise, funny, and moving, Train Dreams tells the story of Robert Grainier, a laborer (and eventual hermit of sorts) who makes a life in (and against) the strange wilderness of the Idaho panhandle. The book somehow measures the first half of the twentieth century in the US without overreaching; instead, through Grainier’s human (but anti-social) presence, Johnson traces the end of Manifest Destiny, the last strands of the wild frontier. Train Dreams, poised tautly on a line that divides the mythic and metaphysical from the concrete and real, shows us a world where we might catch a glimpse of wolf-children and angels—the real thing, not just the sham show, not just a pale suggestion.
Moving through the book again via Patton’s expert narration, I was struck by how constructed yet seamless Johnson’s narrative is. Johnson gets so much credit for the precision of his syntax, but a rereading of Train Dreams reveals how tight and layered, yet never obvious, his plot is—how he lays out his themes repeatedly without brazenly calling attention to them. (One of the joys of reading is rereading; one of the joys of a novella is that its brevity allows us to easily reread). The book is a gem.
Will Patton’s reading perfectly matches the tone, pacing, and depth of Train Dreams. He understands the restraint of Johnson’s prose, never tripping over into bombast or ghastly over-emoting. Patton’s wry, not-quite-dusty, not-quite-dulcet tone brings Johnson’s small cast to vivid life. In particular, he breathes energy into the humorous dialogues. I found myself laughing aloud over a discourse between Grainier and a man who’s been shot by his own dog. Patton understands the material and brings the same sensitivity, pathos, and wit to it that he brought to his reading of Johnson’s 2007 opus, Tree of Smoke.
A good reader makes all the difference of course. In the wrong hands—excuse me, wrong voice-—a book we thought we knew can come across stifled, squashed; the reader can actually hurt the book, impose the wrong tone: misread. A reader like Patton (and I should credit his director and production team too, of course) can enlarge a book for its audience, shining light on the subtle nuances we might overlook, or even clouding phrases we thought we fully understood, empowering the language with a new ambiguity that enriches the overall reading experience. Highly recommended.
Here’s Patton reading the first part of Train Dreams: