Walter Benjamin at the Dairy Queen : Reflections on Sixty and Beyond
Walter Benjamin at the Dairy Queen : Reflections on Sixty and Beyond book cover

Walter Benjamin at the Dairy Queen : Reflections on Sixty and Beyond

Paperback – Illustrated, August 7, 2001

Price
$12.99
Format
Paperback
Pages
208
Publisher
Simon & Schuster
Publication Date
ISBN-13
978-0684870199
Dimensions
5.25 x 0.52 x 8 inches
Weight
6.4 ounces

Description

Thomas Mallon The New York Times Part memoir, part commonplace book, part tour de force.William Murchison The Washington Times The kind of long, deep wisdom found between these covers should occasion long, deep thought, suitable for the Dairy Queen or for that matter anywhere.Bill Bell New York Daily News A love story about books... [Walter Benjamin at the Dairy Queen] is a sweeping, thoughtful summation, as comfortable as old boots...Richly satisfying. Larry McMurtry (1936–2021)xa0wasxa0the author of twenty-nine novels, including the Pulitzer Prize–winning Lonesome Dove , three memoirs, two collections of essays, and more than thirty screenplays. He lived in Archer City, Texas. Excerpt. © Reprinted by permission. All rights reserved. Chapter 1 In the summer of 1980, in the Archer City Dairy Queen, while nursing a lime Dr Pepper (a delicacy strictly local, unheard of even in the next Dairy Queen down the road -- Olney's, eighteen miles south -- but easily obtainable by anyone willing to buy a lime and a Dr Pepper), I opened a book called Illuminations and read Walter Benjamin's essay "The Storyteller," nominally a study of or reflection on the stories of Nikolay Leskov, but really (I came to feel, after several rereadings) an examination, and a profound one, of the growing obsolescence of what might be called practical memory and the consequent diminution of the power of oral narrative in our twentieth-century lives.The place where I first read the essay, Archer City's Dairy Queen, was apposite in more ways than one. Dairy Queens, simple drive-up eateries, taverns without alcohol, began to appear in the arid little towns of west Texas about the same time (the late sixties) that Walter Benjamin's work began to arrive in the English language -- in the case of Illuminations, beautifully introduced by Hannah Arendt. The aridity of the small west Texas towns was not all a matter of unforgiving skies, baking heat, and rainlessness, either; the drought in those towns was social, as well as climatic. The extent to which it was moral is a question we can table for the moment. What I remember clearly is that before the Dairy Queens appeared the people of the small towns had no place to meet and talk; and so they didn't meet or talk, which meant that much local lore or incident remained private and ceased to be exchanged, debated, and stored as local lore had been during the centuries that Benjamin describes.The Dairy Queens, by providing a comfortable setting that made possible hundreds of small, informal local forums, revived, for a time, the potential for storytelling of the sort Walter Benjamin favored. Whether what he favored actually occurred, as opposed to remaining potential, is a question I want to consider in this essay.On that morning in 1980, Benjamin's tremendous elegy to the storyteller as a figure of critical importance in the human community prompted me to look around the room, at that hour of the morning lightly peopled with scattered groups of coffee drinkers, to see whether I could. spot a loquacious villager who -- even at that late cultural hour -- might be telling a story. And if so, was anyone really listening?Certainly if there were places in west Texas where stories might sometimes be told, those places would be the local Dairy Queens: clean, well-lighted places open commonly from 6 A.M. until ten at night. These Dairy Queens combined the functions of tavern, café, and general store; they were simple local roadhouses where both rambling men and stay-at-homes could meet. To them would come men of all crafts and women of all dispositions. The oilmen would be there at six in the morning; the courthouse crowd would show up about ten; cowboys would stop for lunch or a midafternoon respite; roughnecks would jump out of their trucks or pickups to snatch a cheeseburger as their schedules allowed; and the women of the villages might appear at any time, often merely to sit and mingle for a few minutes; they might smoke, sip, touch themselves up, have a cup of coffee or a glass of iced tea, sample the gossip of the moment, and leave. Regular attendance was necessary if one hoped to hear the freshest gossip, which soon went stale. Most local scandals were flogged to death within a day or two; only the steamiest goings-on could hold the community's attention for as long as a week.And always, there were diners who were just passing through, few of whom aspired to stay in Archer City. They stopped at the Dairy Queen as they would at a gas station, to pee and take in fuel, mindful, gloomily, that it was still a good hundred miles even to Abilene, itself no isle of grace. Few of these nomads, if they had stories to tell, bothered to tell them to the locals -- and if they had wanted to tell a story or two, it is doubtful that anyone would have listened. People on their way to Abilene might as well be on their way to hell -- why talk to them? Folks in Archer City knew the way to hell well enough; they need seek no guidance from traveling men.All day the little groups in the Dairy Queen formed and re-formed, like drifting clouds. I stayed put, imbibed a few more lime Dr Peppers, and reread "The Storyteller," concluding that Walter Benjamin was undoubtedly right. Storytellers were nearly extinct, like whooping cranes, but the D.Q. was at least the right tide pool in which to observe the few that remained."The Storyteller" had been published in a journal called Orient und Okzident in the year of my birth (1936, well before electricity had arrived in the rural parts of the county where I grew up; it arrived, dramatically, when I was five, courtesy, we all felt, of FDR). It was startling to sit in that Dairy Queen, reading the words of a cosmopolitan European, a man of Berlin, Moscow, Paris, and realize that what he was describing with a clear sad eye was more or less exactly what had happened in my own small dusty county in my lifetime. I was born, in the year of the essay, into a world of rural storytellers -- and what had become of them? Were any of the coffee drinkers sitting nearby doing any more than escaping the heat? Were they exchanging experiences, were they curious about life, or were they just hot?If the latter, they could hardly be blamed -- the temperature had soared to a Sudan-like 116 that day, forcing the cancellation of the long-awaited (a century awaited), first ever Archer County marathon, a much anticipated high spot of the county's centennial celebration, itself a fortnight-long event, or congeries of events, which I had come home to watch. The celebration was certainly appropriate, but the marathon was a different matter, one in which I personally had not been able to invest much belief. Though I had long made a living by imagining unlikely lives, it was nonetheless not easy to imagine the county's dairy farmers and roughnecks and cowboys, and their wives or women, lumbering along the county's roads for anything like twenty-six miles. The marathoners, if any, would undoubtedly be imports, pros or semipros whose connection to our one-hundred-year-old county would very likely be negligible. All the same, calling off the run on a day when it was going to be 116 seemed a wise, even a compassionate policy. At 116 Fahrenheit people are likely to drop dead while doing nothing more strenuous than picking their teeth.Copyright © 1999 by Larry McMurtry Read more

Features & Highlights

  • In a lucid, brilliant work of nonfiction, Larry McMurtry has written a family portrait that also serves as a larger portrait of Texas itself, as it was and as it has become.
  • Using an essay by the German literary critic Walter Benjamin that he first read in Archer City's Dairy Queen, McMurtry examines the small town way of life that big oil and big ranching have nearly destroyed. He praises the virtues of everything from a lime Dr. Pepper to the lost art of oral storytelling, and describes the brutal effect of the sheer vastness and emptiness of the Texas landscape on Texans, the decline of the cowboy, and the reality and the myth of the frontier.​ McMurtry writes frankly and with deep feeling about his own experiences as a writer, a parent, and a heart patient, and he deftly lays bare the raw material that helped shape his life's work: the creation of a vast, ambitious, fictional panorama of Texas in the past and the present. Throughout, McMurtry leaves his readers with constant reminders of his all-encompassing, boundless love of literature and books.

Customer Reviews

Rating Breakdown

★★★★★
30%
(88)
★★★★
25%
(73)
★★★
15%
(44)
★★
7%
(21)
23%
(67)

Most Helpful Reviews

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Notes of a compulsive reader. . .

I've read much more of Larry McMurtry's fiction than his nonfiction, and sometimes I find myself enjoying his nonfiction a great deal more. His wry, humorous point of view, gift for quiet irony, and depth of thought come across so much more strongly in his own voice, compared to those of the characters in his novels. And while I am very fond of "Leaving Cheyenne," "Horseman, Pass By" and "The Last Picture Show," my favorite McMurtry novels, it is an equal pleasure to be in the presence of the man himself, as he reveals himself in the essays in this book.

Writing in his 62nd year, McMurtry lets himself free associate across a number of subjects; his life as a compulsive reader and book collector; the brief span of West Texas frontier history where three generations of McMurtrys lived, worked, and multiplied; the realities and myths of cowboys and ranching; his education at Rice in Houston; a short story writing course at Stanford with Frank O'Connor; his life as a novelist; the making of the movie "The Last Picture Show"; the passing of the urban secondhand bookstores; the emergence of Dairy Queens as social centers in small towns; the Archer City, Texas, centennial celebration; the demise of storytelling; the fragmentation of the American family; the importance of Proust and Virginia Woolf at a critical point in his life; the winning of the Pulitzer Prize for "Lonesome Dove"; and - most remarkably - his descent into a fierce depression following heart surgery in his 50s, from which he has not completely recovered at the time he was writing this book.

There is a deep melancholy in many McMurtry novels, played sometimes for laughs, as in "Texasville" (where characters hang out at the Dairy Queen). Indirectly, he accounts for some of that in this book, turning as he sometimes does to the themes of loss and the impermanence of things - represented in so many ways, from the vast outpouring of books that sit in piles and on shelves, collect dust and will never be opened again, to the death of his father, a rancher who worked hard all his life and saw in his last years that his achievements were far too few.

I recommend this book to anyone who's read McMurtry's novels and has wondered about the man whose imagination has produced so many memorable characters and stories. For the fun of it, you might just take it down to the Dairy Queen and read it there over a MooLatte.
18 people found this helpful
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A literate and thoughtful "memoir"

Written when McMurtry was 62, WALTER BENJAMIN AT THE DAIRY QUEEN is probably best classified as a memoir, although it is not presented as such. Rather, the construct (perhaps "artifice" is the more apt word) is McMurtry sitting in the Dairy Queen in hometown Archer City, Texas reading an essay on storytelling by Walter Benjamin, which then prompts McMurtry to reflect on and then pass along some of the stories of his life. This Dairy Queen/Walter Benjamin construct comes across as a tad contrived, maybe a little too self-consciously "artsy," but on the whole the stories McMurtry tells are well worth listening to.

The two principle subjects of the book (tracking, one assumes, the two principle preoccupations of McMurtry's life) are (i) the American West -- including that pocket of the West local to Archer County, Texas where McMurtry grew up and his grandparents were pioneering settlers -- and (ii) books, reading, and writing. Throughout the book, seamlessly interwoven with reflections about larger themes such as the West, the doomed and mythical cowboy, and literature are themes or events personal to McMurtry, such as growing up on a hard-scrabble North Texas ranch, his father, going in his teens to the big city and later Rice University, returns to Archer City relating to "The Last Picture Show", and his quadruple-bypass surgery and its extended psychic aftermath.

I see that previous reviews have characterized McMurtry as "crusty" or "cranky," which in my view does him and the book a disservice. Without any obvious effort to ingratiate himself with the reader, McMurtry comes off as personable and likeable. It is not much of a stretch to envision him actually relating these stories and reflections after the meal around a dining room table or maybe even a campfire (albeit not any Dairy Queen of my experience). Yes, in such circumstances McMurtry probably would tend to monopolize the discussion, but he knows more than most of us and, as his fiction suggests, he is a better storyteller than most.
7 people found this helpful
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A Most Interesting Read!

Everything has been said about the book. As for me,a fellow Texas, living in California, I enjoyed getting to know more about Larry McMurtry, his family roots, heritage, and his present attitudes. I remain his constant fan.
Evelyn Horan - children's author
Jeannie, A Texas Frontier Girl, Books One-Three
3 people found this helpful
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Valuable Insights

I liked the book despite times when the author lapsed a bit too far into self-indulgence, but most autobiographies are apt to fall prey to that danger. Though not advertised as an autobiography, instead as an essay (or a series of loosely joined essays), it is mostly that. Along the way the author deftly weaves a variety of themes into a patchwork quilt that, when finished leaves the reader with a number of ruminations to contemplate. And they're big themes: the loss of the American frontier, one's own mortality and the mortality of one's family legacy, the passing of a culture of books and readers, and ostensibly the primary theme, the loss of the spoken story and its associated priceless myths, legends, heroes and villains. In the end, the author's self-indulgence can be excused since he brings so many valuable insights to light.
2 people found this helpful
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Refreshing

McMurtry is so much more than an evocative novelist, eg. Lonesome Dove. His essays and reflections on the old west are satisfyingly erudite and informative, and he couches it all in his wonderful writing style, both easy and concise.
1 people found this helpful
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Not one of his best efforts....

Not one of his best.....Larry reaches a little too far with this tale.....a book you lay down and forgot where you left it....
1 people found this helpful
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A White Brilliance

"He is all sparks, yet the sparks rarely produce a steady flame; but the sparks do have a white brilliance that in itself is enough."

-Larry McMurtry on the writings of Walter Benjamin.

Larry McMurtry, who died in March of this year, is probably best known for his novels and movie scripts, from "HUD" to "Terms of Endearment" to "Lonesome Dove", but he was also a great reader, a lover and collector of books, and a bookstore owner. Walter Benjamin was a critic and essayist who wrote during the thirties and died while trying to escape the Nazis by committing suicide. The Dairy Queen in Archer City, Texas is the place where McMurtry first read an influential essay by Benjamin about stories.

McMurtry jumps back and forth in discussing the dying of the Old West and birth of the New West; the joy of reading; the collection of old books; and his childhood in West Texas. He reveals that he often resented his writing, which he did every day, because it was time that he could not be reading.

I came to this book by a circuitous route. I had encountered the author's movies and novels at irregular intervals during the last 50 years. The pandemic lead me to read Richard Avedon's "In the American West" (which had an introduction by McMurtry") and showed the denizens of McMurtry's West; to watch Paul Newman in "HUD"; and to read the novel "Leaving Cheyenne." This last knocked me for a loop, with its contrast between the vernacular language and the brilliantly structured telling. Add to this my own interest over many years in Benjamin, and I was drawn to this book.

A work of art in the first instance must stand by itself. It can then gain additional depth as we learn more about the creator's background, vision, and intentions. In this case, it is not this book that is the work of art, but rather the body of McMurtry's work that the book reveals. We gain a deeper understanding of his view of the metamorphosis of the American West from the vision of a flawed Eden to an industrial state. We see how the transformation within a lifetime affected the humans and the land. At the same time, we see how the adolescent boy changed from an inept cowboy to a writer and bibliophile through the medium of reading.

It's easy to see how some readers of McMurtry find this a book of boring essays, especially if they valued his writing as cowboy stories. Certainly, as he skips from subject to subject, the reader may confused by "the shower of sparks...without a steady flame." But if instead we look at this as an artist's own explanation of the source and meaning of his work and life, we will find "the white brilliance" in both.

Don't read this book until you've taken a serious dip into his other novels and movies. Then get ready for insights.
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Hard read

This was a hard read, but I enjoyed it.
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Five Stars

I'm a McMurtry fan...
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Good gift idea for McMurty fans

Excellent gift for my dad. He enjoyed reading this Christmas gift.