The Sunset Trail — Context and Discussion
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ders, and compared him—graceful and limber and lithe as a mountain lion—with the tubby Count Banti to that patrician’s disadvantage. Also, Mr. Masterson’s hands and feet were smaller than those of Count Banti.
Ruth Pemberton and Count Banti made brief saddle excursions up and down the banks of the Canadian. Mr. Wright, using sundry ingenious devices to that end, had trained one of the more sedate of the ’Dobe Walls’ ponies to carry a lady without going insane. The training was successful, and the bronco thus taught to defy the dread mysteries of skirts and sidesaddle, had been presented to Ruth Pemberton. While Ruth Pemberton and Count Banti rode abroad, Madam Pemberton uplifted herself with George Eliot’s novels, and the sermons of Theodore Parker.
Ruth Pemberton and her noble escort never traveled far from camp, for Mr. Wright had convinced them that Cheyennes were not to be trusted. The several specimens of this interesting sept whom they saw about the ’Dobe Walls, trading robes for calico and cartridges, served by their appearance to confirm the warnings of Mr. Wright.
When not abroad in the saddle, Ruth Pemberton developed a surprising passion to know intimately the West and its methods, rude and rough. She asked Mr. Masterson if she might go to school to him in this study so near her pretty heart. That young gentleman, looking innocently into her slumberous brown eyes, said “Yes” directly. Or rather Mr. Masterson, lapsing into the Panhandle idiom, said,
Being thus permitted, Ruth Pemberton, when Mr. Masterson galloped in from his buffalo killing and the Mexican skinners had brought home the hides in a waggon, would repair to the curing grounds, the latter being a flat, grassy stretch within two hundred yards of Mr. Wright’s store. Once there, she looked on while Mr. Masterson pegged out the green hides. It interested her to see him sprinkle them, and the nearby grass, with poisoned water to keep off hidebugs. The hidebug, according to Mr. Masterson, must have been an insect cousin of the buffalo, for he came and went with the robe-hunters, and lived but to spoil hides with the holes that he bored in them.
Ruth Pemberton asked Mr. Masterson questions, to which he replied in one syllable. Also she did not pay sufficient attention to Count Banti—giving her whole bright-eyed time to Mr. Masterson. Whereat Count Banti sulked; and presently deserting Ruth Pemberton he withdrew to Mr. Hanrahan’s saloon, where he was taught draw-poker to his detriment. Count Banti, when he left Ruth Pemberton, expected that she would call him back; she did not, and the oversight made him savage.
One morning, while they were riding among the riverside cottonwoods, Count Banti became hysterical in his reproaches; he averred that Ruth Pemberton tortured in order to try his love. Proceeding to extremes, he said that, should she drive him desperate, he would destroy Mr. Masterson. At this, Ruth Pemberton’s rice-white teeth showed between roseleaf lips; she smiled in half admiration upon Count Banti.
“Oh!” thought Ruth Pemberton, “if only he would kill somebody I might love him from my heart!”
The soul of Ruth Pemberton of Beacon Hill and Vassar, having been west of the Missouri one month and at the ’Dobe Walls two days, was slipping into savagery—so friendly is retrogression, so easy comes reversion to type! She had supposed she loved Count Banti; and here was her soul going out to Mr. Masterson! How she dwelt upon him, when, bronzed of brow, cool of eye, alert, indomitable, he rode in from the day’s kill! The rattle of his spurs as he swung from the saddle was like a tune of music!
Not that Ruth Pemberton wore these thoughts on her face. She hid them from others, she even concealed them from herself. Had one told her that she was beginning to love Mr. Masterson, she would have stared. Count Banti himself never thought of so hideous a possibility; his jealous petulance arose solely from her calm neglect of himself. Ruth Pemberton asked Mr. Masterson how old he was, and it pleased her to hear that he was several months her superior.
Civilisation is a disguise, and in travel one loses one’s mask. One’s nature comes out and basks openly in new suns. This is so true that the West, when a compliment is intended, says of a man: “He’ll do to cross the plains with.” What the West means is that on such an expedition, what is treacherous or selfish or cowardly in a man will appear. Wherefore, to say of one that he will do to cross the plains with, is a most emphatic declaration that the one thus exalted is unmarked of vices.
Ruth Pemberton, who on Beacon Hill would have paled at a pin-prick and the red bead of blood it provoked, now thought kindly of mere slaughter, and insisted on riding ten miles with Mr. Masterson to the buffalo grounds to witness the day’s work.
“But, my child!” cried Madam Pemberton.
“It’s the only chance, mamma, I’ll ever have to see a buffalo killed.”
Madam Pemberton was not a deep mind, but exceeding shallow; to say that any chance was an only chance struck her as a reason for embracing it.
Ruth Pemberton was to journey to the buffalo grounds in the buckboard; Count Banti might accompany her, a Mexican would drive. Mr. Masterson, when told of the good company he would have on his next day’s hunt, made no objection. To the direct question as to whether the country were possible for buckboards, he said it was.
“What do you think yourself, Bob?” asked Mr. Masterson, when that evening he met Mr. Wright in Mr. Hanrahan’s bar, and they discussed this feminine eagerness to see dead buffaloes. “If we cross up with a bunch of Cheyennes, there may be trouble. It’s a chance they’d try to capture the girl. Besides, they’ve got it in for me about that hair on my bridle.”
“There’s no Cheyennes about,” said Mr. Wright. “When they drift within twenty miles of us, they are sure to show up at the store, and I haven’t seen an Indian for two days.”
Count Banti took a Winchester rifle with him. There were two seats in the buckboard; Ruth Pemberton and Count Banti occupied the rear seat, the front seat being given over to the Mexican, and a basket flowing with a refection prepared by Mr. Hanrahan’s darky cook. Mr. Masterson, on his buckskin pony, Houston, rode by Ruth Pemberton’s side of the buckboard. Madam Pemberton remained behind with The Mill on the Floss.
The expedition skirted the suburbs of a prairie dog village, and the shrill citizens were set a-flutter, or pretended to be, and dived into their houses. The polite diminutive owls, the prairie dogs’ companions, stood their ground and made obeisances. Ruth Pemberton’s cheek flushed with an odd interest as she gazed at the prairie dogs and the little polite ground owls.
Off to one side a dozen coyotes loafed along, not unlike a dozen loafing dogs, keeping abreast of the buckboard. Ruth Pemberton pointed to them:
“Isn’t it strange,” she asked, “that they should accompany us?”
There was the emphasis of a half alarm in her tones; a coyote was not, to her eyes, without formidable characteristics. Mr. Masterson explained.
“They go with us to the kill. When we leave, there will be a battle royal between them and the buzzards for the beef.”
Mr. Masterson pushed forward to show the buckboard Mexican his way across a piece of broken ground. Count Banti took note of the parted lips, and that soft sparkle of the brown eyes, as Ruth Pemberton followed him with her glances. Count Banti made no criticism of these dulcet phenomena; he was too much of a gentleman and she too much of an heiress.
Count Banti, moved of a purpose to recall Ruth Pemberton from her train of fancy, did say that since a waggon, with the skinners, must go and come every day to bring in the buffalo hides, he was surprised that Mr. Masterson didn’t ride in that waggon. It was superfluous, nay foolish, to saddle a pony under such waggon circumstances.
This idiotic conversation earned the commentator on buffalo hunters and their ways immediate grief. Ruth Pemberton wheeled upon Count Banti like a little lioness, that is, a little lioness subdued of Vassar and Beacon Hill. Ruth Pemberton said that she had never been treated to a more preposterous remark! It was unworthy, Count Banti! Mr. Masterson in a waggon! One might as easily conceive of Sir Launcelot or Richard the Lion Heart in a waggon.
When Mr. Masterson returned to the buckboard, Ruth Pemberton deftly lost her handkerchief overboard. Mr. Masterson brought Houston to the right about, and riding back stooped from the saddle and swept up the scrap of cambric from the short grass.
“Because you are so good,” said Ruth Pemberton, with a smile, “you may keep it for your reward.”
Count Banti ground his teeth; he expected that Mr. Masterson would bind the sweet trophy in his sombrero. Count Banti gasped; instead of tucking the dainty guerdon behind that gold and silver rattlesnake, the favoured dull one continued to offer it to Ruth Pemberton.
“I’ve no place for it,” said Mr. Masterson; “I’d lose it.”
Ruth Pemberton’s brow was red as she received her property; for one wrathful moment a flame showed in the brown eye like a fire in a forest. Mr. Masterson’s own eye was as guileless as an antelope’s. Was he a fool? Was he deriding her? Ruth Pemberton decided that he was merely a white Indian. She appeased her vanity by turning her shoulder on the criminal and giving her conversation to Count Banti. Under these direct rays of the sun, our Frenchman’s noble soul expanded like a flower; as the fruit of that blossoming he began to brag like a Sioux.
Having caught some glint of the lady’s spirit, Count Banti told of adventures in India and Africa. He was a hero; he had haunted water-holes by night and killed black-maned lions; he had stalked tigers on foot; he had butchered Zulus who, moved of a tropical venom, assailed him with battle axes.
Count Banti, pressing forward, set forth that he had been sustained as he crossed the Atlantic by a hope that he might war with America’s red natives. Alas, they were broken and cowed; their spirit had been beaten down! He must return wrapped in disappointment.
Still—and now Count Banti became tender—it had been the most fortunate journey of his career. If not Mars then Venus! Count Banti had found the most lovely and most lovable woman in the world! And, by the way, would Ruth Pemberton make Count Banti delirious with joy by presenting him the handkerchief which the aborigine on the pony had had neither the wit nor the gentle fineness to accept?
For reply, Ruth Pemberton furtively wadded the poor rejected cambric into a ball about the size of a buckshot, and dropped it overboard again. And, because neither Mr. Masterson nor Count Banti saw its fall, there it lies among the buffalo grasses on the flat banks of the Canadian to this day.
Count Banti repeated his request and backed it with a sigh. Thereupon Ruth Pemberton opened both small hands to show how that desirable cambric had disappeared. Count Banti made rueful eyes rearward as though contemplating a search.
Mr. Masterson halted the buckboard; they had arrived within a mile of the buffaloes; he pointed where hundreds of them were grazing or reposing about the base of a gently sloping hill. The heavy dust-coloured creatures looked like farm cattle to the untaught Ruth Pemberton.
There was a bowl-like depression a few yards from where the buckboard came to a stop. It was grassed and regular, and one might have imagined that it had been shaped and sodded by a gardener. Mr. Masterson defined it as a buffalo wallow; he tried to make clear how, pivoting on one horn, a buffalo bull, shoulder to the ground, had excavated the cup-fashioned hollow they beheld.
While the Mexican was slipping free the team’s traces, and making the few camp arrangements required for their stay, Count Banti began a lively talk with Mr. Masterson.
How long would it take Mr. Masterson to complete his day’s kill?
Mr. Masterson, it seems, would kill thirty buffaloes; that would take an hour.
And then they would return? Yes; or if the visitors tired, they might hook up and start at any moment. It was not worth while to sit through the slaughter of thirty buffaloes. The killing of one would be as the killing of another; to see the first was to see all.
Ruth Pemberton interposed; she would wait and return with Mr. Masterson.
Count Banti said he could see that killing buffaloes was slow, insipid sport. Now there might be a gallant thrill in fighting Indians—painted and perilous! Count Banti would have summoned up an interest for Indians. Had Mr. Masterson ever slain an Indian? Probably not; Mr. Masterson was a young man.
Mr. Masterson bent a cold eye upon Count Banti. Saying never a word, he sauntered over to Houston, and began twisting a pair of rawhide hopples about his fetlocks, for Mr. Masterson, like all professional buffalo hunters, killed his game on foot. As Count Banti was ruffling over Mr. Masterson’s want of courtesy, the Mexican plucked him by the sleeve.
“See!” said the Mexican, pointing to the four braids of black hair hanging from Mr. Masterson’s bridle. “Cheyenne skelps; four!” And the Mexican held up four fingers.
“Scalps!” returned Count Banti, the burgundy colour deserting his heavy face. “Where did he get them?”
“Killed ’em here—anywhere!” vouchsafed the Mexican, waving a vague paw. “Killed ’em twelve weeks ago—mebby eight—no?”
What Count Banti might have thought concerning the sinister character of the region into which he had stumbled, he was given no chance to divulge, for Mr. Masterson came up, rifle in hand, and speaking to Ruth Pemberton, said:
“Make yourself comfortable; you will be able to follow all that goes on, should you be interested in it, from the buckboard. You’ve brought a pair of field glasses, I see. Lucky we’re down the wind! I can go straight to them.”
As the ground between him and the buffaloes on the slope lay flat and open, with not so much as a bush to act as a screen, Mr. Masterson’s remark about going straight to his quarry appeared a bit optimistic. However, Mr. Masterson did not think so, but seemed the sublimation of certainty; he started off at a slow, careless walk directly towards the herd.
Mr. Masterson had covered half the distance, that is to say, he had approached within a half mile of his game, before the buffaloes displayed a least excitement. When he had travelled thus far, however, those nearest began to exhibit a slow, angry alarm. They would paw the grass and toss a threatening horn; at times one would throw up his nose and sniff the air. The wind being from the buffaloes to Mr. Masterson, these nose experiments went without reward.
Yielding to the restless timidity of the perturbed ones, who if set running would infallibly stampede the herd, Mr. Masterson threw himself on his face and began to creep. His brown right hand gripped the stock of his rifle, and he dragged it over the grass, muzzle to the rear. Also, he was careful to keep his face hidden from the buffaloes behind the wide brim of his sombrero.
The herd’s interest was sensibly abated when Mr. Masterson forsook the perpendicular. So long as they were granted no terrifying glimpses of his face, the buffaloes would believe him some novel form of wolf, and nobody to fly from. Acting upon this wolf theory, they watched the creeping Mr. Masterson curiously; they stood their ground, and some even walked towards him in a threatening mood, disposed to bully.
As Mr. Masterson, eyes to the grass, crept slowly forward, a dry “Bzz-z-z-z-z!” broke on his ear from a little distance in advance. Cautiously he lifted his eyes; the rattlesnake lay, coiled and open-mouthed, in his path. Mr. Masterson pushed the Sharp’s towards the reptile; at that it uncoiled and crawled aside.
For twenty minutes Mr. Masterson continued his slow, creeping advance. When he was within four hundred yards of the herd he rose on one knee. There was a big bull, evidently an individual of consequence, who, broadside on, stood furthest up the wind. Deliberately and without excitement, the Sharp’s came to Mr. Masterson’s shoulder and his steady eye brought the sights to bear upon a spot twelve inches square, just behind the foreshoulder.
For the sliver of a second Mr. Masterson hung on the aim; then the heavy buffalo gun, burning one hundred and twenty grains of powder and throwing a bullet eight to the pound, roared, and the bull leaped heavily forward, shot through the lungs. With forefeet spread wide, blood pumping from both nostrils, the buffalo fought desperately for breath and for strength to stand. The battle was against him; he staggered, caught himself, tottered, stumbled, and then with a sigh of despair sank forward on his knees to roll at last upon his side—dead.
At the roar of the buffalo gun, the herd, fear at their hearts’ roots, began to run. Instantly a change came over them. The dying bull was to windward gushing blood, and the scent of that blood swept down upon them in a kind of madness. Their wits forsook them; they forgot their peril in the blood-frenzy that possessed them, and charged ferociously upon their dying comrade. When he fell, they gored him with crazy horns—a herd of humped, four-legged, shaggy, senseless, bellowing lunatics!
“Bang!” from the big buffalo gun, and another bull stood bleeding out his life. The herd, wild and frantic, fell upon him.
“Bang!” spoke the buffalo gun; a third, shot through and through, became the object of the herd’s crazy rage.
Killing always to windward, Mr. Masterson might have stood in his tracks and slain a dozen score; the scent of the new blood would hold the fury-bitten buffaloes like a spell.
Knowing this to be the nature of buffaloes, Mr. Masterson felt profound surprise when after his third fire, and while still the last stricken bleeding buffalo was on his feet, the whole band seemed suddenly restored to their senses, and went lumbering off at a right angle.
“Cheyennes!” exclaimed the sophisticated Mr. Masterson; “they are over the brow of the hill!” Then he turned, and started for Ruth Pemberton and the others at a sharp trot.
While Mr. Masterson was creeping on the buffaloes, Ruth Pemberton from her buckboard perch, followed him through the field glasses. She saw him pause, and push forward with his rifle at the rattlesnake; while she could not see the reptile, by some instinct she realised it—coiled and fanged and venomous—and shuddered. She drew a breath of relief as Mr. Masterson re-began his stalk. She saw him when he rose to his knee; then came the straight, streaky puff of white smoke, and the dying bull stood staggering and bleeding. Next there drifted to her on the loitering breeze the boom of the buffalo gun, blunted by distance and direction. Her glasses covered the herd when in its blood-rage it held furious wake about the dying ones.
And, what was most strange, Ruth Pemberton took a primal joy therein. She was conscious of the free, original sweep of the plains about her, with the white shimmer of the Canadian beyond. And sensations claimed her, to flow in her veins and race along her nerves, which archery and tennis had never called up. There abode a glow in her blood that was like a brightness and a new joy. If the handkerchief-declining Mr. Masterson were a white Indian, what now was she? Only she never once thought on that.
Mr. Masterson came up at top speed, and said something in Spanish to the Mexican. That hare-heart became pale as paper; instead of bringing in his team, as Mr. Masterson had commanded, he cut the hopples of the nearest horse, and went powdering away towards the ’Dobe Walls. Mr. Masterson tossed up his Sharp’s with a half-notion of stopping him; then he shook his head cynically.
“He’s only a Mexican,” said he. Helping Ruth Pemberton from the buckboard, where she sat in startled ignorance, he remarked: “Get into the buffalo wallow; you’ll be safer there.”
Alfred Henry Lewis opens The Sunset Trail with a narrator who addresses the reader directly, using a conversational and often sardonic tone. The prose is marked by deliberate, almost legalistic phrasing—sentences that loop back on themselves with qualifications like “it was in my thoughts” and “none the less.” This voice immediately establishes a knowing, slightly world-weary perspective on the Western frontier, treating its violence and absurdities with equal composure.
Lewis’s diction favors the specific over the generic: a dance hall violinist is “ill-conditioned,” a contralto’s voice sounds “like a man in a cistern.” Such choices root the narrative in a particular kind of observation—one that finds the ridiculous in the grim and the precise in the chaotic. The excerpts show a writer attentive to the rhythms of speech and the small, telling detail that defines a scene without needing to explain it.
The Narrator’s Ironic Distance
The narrator of The Sunset Trail rarely lets a dramatic moment pass without a dry comment. When Mr. Peacock’s dance hall nearly erupts over a quadrille with five couples, the narrator notes that the gentlemen “would have either adjusted their differences by tossing a copper or gone outside to shoot.” The matter-of-fact listing of alternatives—coin toss or gunfire—treats violence as a routine social option. This ironic distance is a deliberate authorial choice: it keeps the reader at arm’s length from the action, inviting amusement rather than horror. The narrator’s voice is that of a seasoned observer who has seen enough frontier chaos to find it predictable, even banal. Lewis reinforces this by using formal, almost bureaucratic language for absurd situations, as when the contralto “conveyed Mr. Pepin to the Little Church Around the Corner, almost with force and arms.” The legal phrase “force and arms” clashes comically with the domestic coercion of a marriage.
Diction as Characterization
Lewis builds characters through their vocabulary and the narrator’s descriptions of them. The contralto is introduced as “a large, powerful woman whose name ended in ‘ski’”—the detail of the name ending is both specific and dismissive, reducing her to a type. Her voice is likened to “a man in a cistern,” a simile that is vivid, odd, and faintly grotesque. Mr. Pepin, by contrast, is defined by his passivity: he is “conveyed,” “married,” “torn into insolvent bits,” and “escaped.” The narrator’s word choices—conveyed rather than taken, insolvent bits rather than ruined—give the prose a mock-heroic quality. Even minor figures are sketched with a few precise nouns: the violinist is “ill-conditioned,” the pianist is “dragged along.” These choices do not merely describe; they judge, and the judgment is part of the entertainment.
Structure and the Set-Piece Anecdote
The excerpts reveal a fondness for the self-contained anecdote. Mr. Pepin’s story—from opera company to flight from a mustached contralto—is a complete narrative within the larger frame, with its own arc of rise, fall, and escape. Lewis introduces it with a mock-heroic gravity (“the error which tugged at his soul”) that deflates as the tale progresses. The dance hall quadrille incident is similarly self-contained: a problem (five couples), a failed intervention (Mr. Peacock’s gesture), and a consequence (the violinist strikes up). Lewis structures these episodes as miniature farces, each with a clear setup and punchline. The authorial choice to embed such set pieces within the larger narrative gives the book a picaresque rhythm, where the reader moves from one vivid, self-contained scene to the next, guided by a narrator who treats each as a specimen of frontier absurdity.
Setting Through Specificity, Not Description
Lewis does not describe Dodge City in broad strokes; he evokes it through specific, often odd details. The dance hall has a “violinist” and a “pianist,” not a generic band. The quadrille formation is a “manifest solecism”—a word choice that imports a social rule into a rough setting. The “Red Stocking Blondes” arrive as a named troupe, not just any traveling show. These details imply a world with its own codes and categories, where a dance formation can be a serious matter. The narrator’s aside about the “Arkansas Traveler” tune and the “snarl” of the dancers grounds the scene in a particular musical and social practice. Lewis trusts the reader to infer the broader setting from these fragments, rather than pausing for panoramic description. The effect is a frontier that feels lived-in and rule-bound, even in its chaos.
Readers will find that Lewis’s authorial choices reward attention to the exact wording of each anecdote. The narrator’s tone is consistent but not monotonous; it shifts subtly between mock-heroic, deadpan, and wry. Watching how Lewis uses diction to signal attitude—and how he structures scenes to maximize comic effect—offers a way into the book that goes beyond plot. The frontier here is less a setting than a premise for a particular kind of storytelling, one that Lewis executes with deliberate craft.
There’s something about the way Lewis lets the old cowtown’s silence speak between the jabs of his dry wit—a patience for the unspoken. It made me think of a quieter memoir, Growing Up: A Story of the Girlhood of Judith Mackenzie — Background and Themes, where the frontier’s loneliness settles into a girl’s small, careful observations. Same spare landscape, different ache beneath the voice.
Grace Brown
6 days agoLiam Robinson
4 weeks ago-
Susan Anthony Sutton - 1 month ago
'The Sunset Trail' is a poorly written Western that relies on stereotypes and predictable plot points. The dialogue is cheesy and the characters have no depth. The action scenes are confusing and the overall story is boring. It feels like a cheap imitation of better Westerns. I was disappointed and would not recommend it. -
Jennifer Parrish - 2 weeks ago
A rip-roaring Western adventure! 'The Sunset Trail' is packed with action, grit, and a classic hero's journey. The descriptions of the setting are vivid, making you feel the dust and heat. The characters are tough and memorable, and the plot is full of twists and turns. It's a great blend of traditional Western elements with a fresh perspective. If you love the genre, this is a must-read. -
Madison Hoover - 2 weeks ago
'The Sunset Trail' is a solid Western with a good dose of adventure and simple, effective prose. The story is fast-paced and the action sequences are well done. However, it follows many genre conventions and doesn't offer much that's new. The characters are somewhat one-dimensional. It's a fun read for fans of the genre, but not a standout.
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Anthony White
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