Midnight cowboy

Herlihy's gift to American literature was this novel. Though the rest of his work is less remarkable, the author created a special vision of American life in Midnight Cowboy. Herlihy's reputation was founded on his ability to write about "grotesqueries" in an authentic voice, and nowhere is this talent better illustrated than in the exploits of Joe Buck and Ratso Rizzo. The novel is full of contrasting elements that go to the heart of Buck's desire to be more than he has been in his young life. His failures as a son, as a military man and as a women's man were only glossed over in the movie, but are fully explored in the book, and serve as impetus for him to continually seek what he perceives to be his destiny. Buck's transition from southwestern hayseed to knowledgeable New Yorker (with the characteristics of each location carefully explored) is painfully rendered; his ignorance of sophisticated (if not corrupt) urban behavior is contrasted against Rizzo's phenomenal knowledge of all things sleazy (though Rizzo maintains a kind of corrupt righteousness in his appraisal of his own bizarre talents). Joe Buck moves from the Purgatorial heat of Texas to the frozen Hell of New York City, and, with the help of the complex mentality of Rizzo, manages to find redemption in the dream of Florida sunshine. Again, this Dantesque journey of a naïve dreamer is beautifully explored in the most grotesque environments. That Joe Buck was able to carry Rizzo with him into that light of redemption is the most poignant aspect of the novel.

Our pop culture offers us numerous, superficial views of lives lived like sit-coms or melodramas, clothed in Gap attire, well-groomed and comfortably normal. Here is a compassionate story of friendship among two fringe dwellers, ugly on the surface, and whom few would deign to look at in passing on the street. Joe Buck is a young, dumb narcissist who believes he can take New York by storm as a stud sought after by rich, lonely high-society women. His backstory comprises the first third of the book, a prosaic telling of an unwanted, unexceptional child whose only caretaker is a preening, whorish beautician who may or not be his mother or grandmother. Loneliness, neglect and some brutal encounters leave Joe to fantasize about finding his place elsewhere. He comes to New York. Once there, his consciousness about the world and his place in it dawn on him with painful awareness; his prized leather jacket becomes stained, his boots begin to smell, he bathes in public toilets and catches glimpses of himself in store windows which shock and depress him. Just as his very survival becomes in doubt he meets a city-bred troll aptly nicknamed, Ratso. Through all Joe's encounters with duplicitous street preachers, suburban molesters and, comically, neurotic New York women, his only bond and loyalty come incongruously to be shared with Ratso, left homeless by the tragedies of his own childhood. The redemption which comes at the end for both of them, is dark, bitter and grim, and yet it comes as a result of the moral choices which these two outcasts make in a world that is otherwise brutally immoral.

Great as the film is, Herlihy's book is even greater. Joe Buck, the naive Cowboy with dreams of making it big selling himself to the women of New York City, comes off better via the written word. What the book drives home so well is Joe Buck's thorough feeling of loneliness, and filling that void in the most unlikely place, and in the company of the most unlikely character. The "country boy goes to the cold, sprawling metropolis" theme has been done over, and often with a one-dimensional viewpoint. Herlihy illustrates Joe Buck as a young man who is plagued by shallow and aloof folk from his hometown in New Mexico to the City of Houston to New York City. Ironically, it is New York City where he encounters the one person he truly can be himself around; the explanation for Joe's comradery with Ratso Rizzo is more effective on page than on screen.This is definitely a heavy read, but James Herlihy was an excellent storyteller. His writing paints such a colorful and tangible setting, you almost wish you were hanging with Joe through his misery just to catch the scenery and backdrops! Herlihy's writing reminds me of the films by director Kar-wai Wong; no matter how dismal the situation, it is portrayed so wonderfully that you wish you could hang around the scene.This is one underrated gem.

I have just re-read Midnight Cowboy after reading it for the first time back in 1969, when the movie came out. I was startled once again by the gritty, desperate telling of Joe Buck's story. Joe is a complete loser, incredibly stupid, and seems to have no dignity. If anything, he becomes even more of an invisible non-person once he hits 42nd St. Things change when he pairs up with Ratso, a crippled swindler who is, perhaps, even more of a loser than Joe is. Together they form a team and a partnership, and for the first time, Joe is happy. Through their unlikely friendship, Joe finally has a center, and gains some limited insight into his true nature. The ending, though sad, somehow left me with a weird hope that Joe manages to make a life for himself after Ratso. I find myself wondering what happened to Joe- did he marry? have children? I look at Jon Voight 30 years after the landmark film, and imagine that he is still Joe Buck- weathered, aged, wiser, and maybe even content.

The movie was great, but the book WAS better. Joe Buck leaves his native New Mexico to "lasso Manhattan" Along the way he suffers the problems and indignations that many who come to the big city with a few dollars and no viable plan do. Buck meets up with local swindler Rico "Ratso" Rizzo and the two plan their adventures together. This book takes us back to a gritty, tough New York City. It creates a "Noir" mood that no other urban novel can. And this book was printed back in the mid sixties. I highly recommend this book