Analysis Of Louis L Amour

What makes this western novel so captivating that it sets it apart from the rest? When the author takes the old cowboy stories and tells them the way they were meant to be, this author, Louis L’Amour, knows what the people want to read when he tells these stories. By reading his stories he educates his readers about what life is like out west of the Mississippi River. He takes you into the stories with his writing style so that you feel like you’re apart of the novel. The book itself is a place of deserts and tough hombres, along with apaches ready to take your scalp.
Louis L’Amour, through his use of personal experiences, style, and plot development, proves that this is his gateway book into the western hall of fame. Louis L’Amour
His first novel ever written was under the name Tex Burns, in which he wrote the famous Hondo (Barron 308). This book is one of the best known novels written in 1953 (Barron 308). L’Amour bases Hondo off the adventures of his own life (Jenkins 308). Within this novel values of honor and surviving are the highest and to pass on the knowledge of something that has been learned (Nesbit 279). To write this he tries to find broken down cowboys who know the story better then anyone else (Wilkinson 307). He says, “In an electronic world there’s a question whether people still read,”—Louis L’Amour (Jackson 306). This book symbolically teaches you how to create a fire that can’t be seen (Nesbit 279). In his book L’Amour writes in third person point of view never seeing it directly through the characters eyes. This is somewhat a signature of L’Amour. He also only writes in the style of fictional westerns that are filled with suspense and action and it’s neither tedious nor repetitious in this way it’s different (Tuska 279). Since these are westerns they usually attract middle-aged men, old men, and blue-collar workers. These readers believe that the information given by Hondo is a moral framework of society (Tuska
The character, Hondo, brought white and red together, that is the white man and Indians. Hondo was kind of a mystery cowboy: he lived among the apaches and the white men (Tuska 279). Angie Lowe was Hondo’s second love, she lived on a ranch with her only son because her husband had abandoned her. Then there’s Vittorio, the chief of the apaches who respected Hondo. Although Silva had a hatred for Hondo and was seeking vengeance, this made for a good plot. L’Amour western plots are always different along with the “Independent story lines.” (Tuska 279). His fictions are more directed on being on the correct time and place and the expression of mortality (Tuska 279). Like the characteristics of L’Amour, Hondo Lane just doesn’t die, though he prepares to die, when he finds himself faced with impossible odds (Tuska 279). For example in the desert, hit has the “Historical endowment of hostile Apaches.”(Tuska 279). Anywhere else that this appears it’s found to be irrelevant, but “here it sustains the prevailing sense of the desert and the need to live, “ in it (Tuska