It was Hell's season, and the air was thick with the acrid stench of burning children. This is how Dan Lambert's journey south commences, in the sweltering heat of a Shreveport summer in 1991. The Vietnam War haunts him, leaving him physically scarred by Agent Orange and emotionally broken by PTSD, which has driven away his wife and child. As if his illness and family woes weren't enough, the country is in the grip of a recession, and Dan is out of work. The final straw comes in the form of a bank summons to repossess his pickup truck, his only means of finding employment. An argument with the bank manager leads to a fight, and suddenly Dan is on the run from the law, having "gone south."
McCammon explores the multiple interpretations of this phrase throughout the novel. It's Cajun talk for being dead, an expression used in Vietnam for someone who goes crazy and snaps, and also the actual journey Dan takes towards the Alabama bayou and the Mississippi Delta water labyrinth, where he hopes to escape pursuit and assess his situation.
Dan Lambert isn't the only character on a quest. He meets Arden, a girl on the run from herself and society, with a disfiguring birthmark on her face, searching for the Bright Girl, a mythical creature said to be able to heal all illnesses with a touch of her hands. Clint and Pelvis Eisley, a mismatched pair of bounty hunters, add humor to the story, while also revealing their own pain and rejection. Little Train, a solitary fisherman and war veteran, lives in isolation in the bayou.
Each member of the group, except Little Train, is seeking a way out of their problems. Dan must accept responsibility for his killing rage and come to terms with his illness, Arden must embrace her disfigurement, Clint must decide about his job dissatisfaction, and Pelvis must move beyond his Elvis infatuation.
The author also introduces a band of drug smugglers hiding in the swamp as adversaries. Their role is the most conventional part of the novel but provides exciting action sequences. In the beginning, there are some similarities with Toni Morrison's "Home," but the two novels diverge in their styles and treatments. McCammon's novel is a fast-paced thriller with horror elements and black humor, while Morrison's work leans towards the classical form of Greek tragedies.
Coming after "Boy's Life," this novel may seem like a step down in quality, but McCammon still manages to create a memorable story and characters. He expresses his disappointment with the publishing industry, which forced him to write copycat thrillers. However, even when his heart wasn't fully in this project, he didn't disappoint his readers and made the story more about the spiritual journey of the characters.
My favorite passage from the introduction illustrates McCammon's artistic credo and why he's one of my favorite authors. It emphasizes the importance of purity, hope, struggle, and the power of creating a world and characters through writing.
It was something a little different than I expected. This is not even remotely horror. It's more of a thriller, based on which Tarantino or Lynch could direct another cult classic. And I would really love to go to the cinema for such a movie.
I have the experience with McCammon that every book of his that has come into my hands is different, so it's always like opening a black box. However, it has never happened to me that I found something really bad in that box. And this one is also an interesting and good book. I enjoyed it and I recommend it.