Willy Vlautin - Lean On Pete

Third Triumph

This third novel consolidates Vlautin's skill and significance as a contemporary writer and it also continues the stylistic American tradition of simple storytelling in terms of naturalistic dialogue and straightforward expression. The honest and believable first person narrative of 15 year old Charley Thompson provides the perfect vehicle for such simplicity, but of course whatever the techniques and personas and situations used, the depth of feeling and meaning is conveyed with an immediacy and emotive impact that is compelling.

Charley's story is similar in many respects to the themes and contexts of Vlautin's previous two novels: journey as escape and self-discovery; damaged lives; hardship [against the self, both physical and mental, but especially loss and death], and the kindnesses, indifferences and nastiness of humanity.

It isn't a significant difference, but I don't feel this story is either as bleak or as hopeful - Vlautin's potent novelistic paradox - as its predecessors. That isn't to say it is neutral. Charley's hardships are many and continue to come at him, but apart from two specific moments of violence he copes well [for his age] and we as readers are not made to dwell on these as Charley continues to move forward and beyond these quickly - though not in the physical reality of his trek across significant distances. Nor is it as thematically hopeful in as much as although Charley encounters many examples of kindness and support I don't feel the book ends with such a certain affirmation of this - though the reader is allowed to decide/imagine for themself.

The novel is rich in its ensemble of characters with more variety and range than in the previous two books. Charley is, as I've said, totally believable and he is also hugely likable in his vulnerability, work ethic, survival instinct and youthful exuberance.

Horses and horseracing are an interesting contextual reality for much of the story and Vlautin has clearly used his interest in and knowledge of this to provide yet more credible and engaging settings for the book. There is also a brilliant pattern of experiences - many shown quickly or even just recalled by Charley in reminiscences with others - which seem to tumble out of Vlautin's own actual experiences. That or it is just more from his rich and vivid imagination. It's a wonderfully 'easy' read and in many ways for me as rewarding from that simple experience as much as the heartfelt tale.

Richmond Fontaine - Live, Exeter Phoenix 17th September, 2011 [Acoustica Weekend]

High Country Acoustica

I've been looking forward to this for a while, and it was an absolute joy to see Willy Vlautin and the band performing live last night. They were outstanding.

In the process of attending I realised what a RF groupie I am: I grabbed an armchair right at the front [a chair with arms, not like a livingroom lounger; at my age I hate standing and either lean against walls at concerts, get a seat if very lucky, or stand with pained legs - ahhhh], and at the end nabbed the set list and then went over to shake Vlautin's hand and thank him for such a great gig. Why not?

The band played most of The High Country and that in itself was fascinating. When I reviewed the album I did express wonder if it would be possible to deliver its storytelling and atmospheric rather than distinctive melodies live. The speculation is over, and to these ears the live performance actually enhanced the song cycle's immediacy and impact: Amy Boone from The Damnations TX performed the female persona - as well as other musical contributions throughout - and her physical presence and clear delivery brought that narrative alive for me [opener to album and performance Inventory was beautiful]. Indeed, I felt I 'heard' the narratives much more clearly in this live set, and not just because I had listened to the album, although the melodies too are now beginning to assert their individualities. The band performed 14 of the album's 17 tracks and it was perfectly gauged and played. The band was tight, and instrumentals an absolute knock-out: Wlly Vlautin, vocals and guitars; Dave Harding, bass and vocals; Sean Oldham, drums and vocals; Dan Eccles, electric guitar and steel; Amy Boone, as I've said, joining on vocals and keyboards. Eccles was on fine form and he wow wows his guitar with a bodily empathy.

My other favourites from the set list and additionals were Post To Wire and Polaroid, the latter sublime. They also rocked with a few punchy numbers and it is easy to get lost in Vlautin's narratives and forget what a consummate band they are. This is the first time I have seen them live and I am still exploring the albums so it's a brilliant journey begun - I also have Vlautin's third novel Lean on Pete yet to read. Paul Who Knows His Richmond Fontaine was there, and having introduced me to Post To Wire he has now introduced me to Winnemucca. I have listened once and will no doubt review later - there are some powerful instrumentals in addition to the stories - and an early favourite is Northline which became the title of Vlautin's second novel, and I am grateful for Paul's contribution to this wonderful discovering.