It would be wrong to say that I pitched a PhD topic about series just so I’d have a legitimate reason to read Joe Lansdale’s Hap and Leonard books and call it work, but I do not know that it would be 100% inaccurate.
It was cold as an Eskimo’s ass in an igloo outhouse, but it was clear and bright and the East Texas woods were dark and soothing. The pines, cold or not, held their green, except for the occasional streaks of rust-coloured needles, and the oaks, though leafless, were thick and intertwining, like the bones of some unknown species stacked into an elaborate art arrangement
Joe Lansdale, The Two-Bear Mambo.
It’s one thing to learn the big, macro-structures of narrative that will allow you to tell a decent story – and make no mistake, Lansdale’s got that shit down. But the thing that impresses me, over and over, is his control on the micro level, putting together an evocative image that’s rich in voice and strategically using contrast to generate powerful effect. Whether its the move from the colloquial metaphor to modern art, the personification of the trees (cold or not) that lends them a stronger presence in the scene, or the speed with which we go from leafless trees to thick and intertwining, the man has his shit together when it comes to writing a paragraph.
