Masters of Atlantis by Charles Portis. 1985 first-edition hardback from Knopf. Jacket design by Sara Eisenman; jacket illustration by Dagmar Frinta.
The Dog of the South by Charles Portis. 1985 trade paperback from Windstone Trade. Cover art by Linda Bordelon; no designer credited.
True Grit by Charles Portis. 1968 hardback Book Club from Simon & Schuster. Jacket design by Paul Davis.
I picked up a 1985 Vintage Contemporaries edition of Charles Portis’s first novel Norwood this summer and promptly snorted the thing up my brain. I then sought out the rest of Portis, and read most of it, with the exception of Gringos, which I’m, I don’t know, saving, if that makes sense.
True Grit might be the best of the novels, from a technical standpoint. Walker Percy’s blurb on the back of my copy compares it to Adventures of Huckleberry Finn, and he’s not wrong. Mattie Ross’s is as achieved and engrossing and complex as Huck’s, a wonderful layering of author-narrator-speaker. The prose is beautiful and Mattie is an endearing American hero. I wish I had read it years ago. I’ll make sure my kids don’t repeat my error. Like Huck Finn, True Grit seems like a book one returns to like an old friend, only to find the friend has changed in some deep way. (But of course it’s only you that’s changed you old bastard, reading now through older dimmer eyes.)
While True Grit is likely Portis’s best novel, my favorite in the quartet I’ve read is The Dog of the South, a road trip novel, shaggy, grotesque, and very, very funny. It reads like a novel that Barry Hannah was never quite sober enough to manage—or maybe that’s unfair (I love Hannah, godbless his soul)—maybe what I mean is that Portis’s loose ironic folk-blues ballad of a novel has more structure than Hannah’s jazz. Anyway, I loved Dog, but in spite of and because of its faults.
Masters of Atlantis is the strangest in the quartet. It’s a novel about con-men and poseurs, secret societies and secret scams, capitalism and the price of knowledge. Again, a very American novel, whatever that means. Atlantis has a Pynchonian paranoid vibe and a Pynchonian zaniness. It also belongs to the American tradition of grifter novels (think of Melville’s The Confidence-Man, or Baum’s Oz, or Adventures of Tom Sawyer, or Gatsby, etc.). Atlantis, told in a third-person voice, feels a bit more distant than the first-person immediacy of True Grit or The Dog of the South, or even the third-person voice of Norwood, which hovers around its protagonist’s brain pan and eye line, and doesn’t flit much farther. Atlantis also covers a hearty lifetime of secret society shenanigans. It’s a loose, shaggy epic, and seems to sprawl beyond its 250-odd pages. In any case, I ate it up, just like I ate up the other three. I waited far too long for Charles Portis, but I suppose late is better than never. Highly recommended.