Few things have messed with my head longer than True Grit, beginning with the 1969 movie starring John Wayne. I own a copy of the book, but I didn’t read it until we started planning our trip to Oklahoma. In 1969 I wouldn’t have imagined that the book was anything better than a Louis L’Amour novel. Of course then I couldn’t think of many things better than a Louis L’Amour novel. I might still like Louis L’Amour if I still read him, but I’ll save that for North Dakota. 

The problem with the John Wayne movie was that the geography was all wrong, and at thirteen I knew it. Everyone knows the plot. Fourteen year-old Mattie Ross enlists one-eyed Marshall Rooster Cogburn to go with her into Indian Territory to bring her father’s murderer to justice. Mattie picks Cogburn because she believes him to be a man of true grit. Comparing myself to Mattie and Rooster, I knew that I didn’t know much about grit, but what I did know was the geography of the movie. I knew Indian Territory was Oklahoma, and I had been in and and out of Oklahoma all my life. I knew the movie landscape was southwestern Colorado, and we went to southwestern Colorado and New Mexico from time to time for vacations. One didn’t get on a horse in Fort Smith, Arkansas, cross a river, and end up in Ouray, Colorado. 

I couldn’t believe that the moviemakers could be so stupid (at best) or dishonest (at worst). I even cobbled together an explanation: the Indian Territory of 1870s Oklahoma was bigger than current-day Oklahoma, and the San Juan National Forest was within its borders. That was wrong of course, but it never occurred to me that the moviemakers picked their locale because southwestern Colorado is prettier than northeastern Oklahoma, no slight at all to northeastern Oklahoma. Southwestern Colorado is prettier than just about anyplace.

The Coen Brothers version of the movie is impossibly true to the book, and its tone and language are altogether artier than the John Wayne version. The Coen Brothers version stars a brilliant 13-year old girl, not a 22-year old. It stars the Dude, not the Duke. But it also makes its nod to the original, and for me in the most confusing way possible: by filming in the same landscape.  The Coen’s choice messed with my head anew, even though by then I had realized that it was a matter of artistic choice, not reality.  

So I finally read the novel, and now it’s joined together with the movies to mess with my head.

Take, for instance, LaBoeuf. A part of me says that of course there is a Texan in this novel, just as there is a Texan in Bram Stoker’s Dracula. If you’re going to write a novel about bravery, you surely do need a Texan companion to prove the act is not only brave, but extraordinarily brave. Matt Damon’s LaBoeuf (pronounced Lebeef) is excellent. In the original movie, however, Glenn Campbell (who was the very thing in his day, and who played guitar on Pet Sounds) is almost unbearably stilted. Did he know it? Is he such a bad actor? Was this art? I doubt it was purposeful, and then I doubt my doubts. It’s hard to understand such horrible acting.

Then there is the comedy. True Grit and Portis’s other novels are considered some of our best under-the-radar stuff. And the book and the movies are set in a real world with a real history. There was a hanging Judge Parker, and the incursions by Parker’s marshals into Indian Territory began the end of Indian Nation sovereignty. Portis gets his history right. Everybody thinks the novel is brilliant, and it is.

And everybody thinks the novel is comic.

I don’t really get it. Maybe to somebody who thinks southwestern Colorado is northeastern Oklahoma the novel is comic. I listen to Mattie Ross’s narration, fine as Portis has made it, and I hear a mildly exaggerated version of my  aunts talking. I watch Rooster Cogburn (who rode with Quantrill), and I see the righteous and the unrighteous, the just and the unjust, and the line is crossed back and forth from day to day, from moment to moment. Rooster Cogburn and Mattie Ross are forces in both opposition and harmony: unconscious Presbyterian rigidity and riding with Quantrill. Is Mattie comic? It’s a comedy that is hard to pinpoint.  Mattie doesn’t tell jokes. She isn’t amusing or witty. This isn’t a book of pratfalls, and it’s not picaresque like, say, Little Big Man. It is comic only in how Mattie’s uncompromising force collides with the world and overwhelms it. Maybe it is only the exaggeration (and in my mind the very slight exaggeration) that is funny.

So 50 years after I first watched John Wayne as Rooster Cogburn in a southwestern single screen theater on a little town square I’m still wrestling with True Grit. 

 * * *

I’ve been preparing for Friday’s trip to Broken Bow.  It’s 30 degrees outside, and I hope it warms up just a bit in the frigid north of Oklahoma where it’s even colder. When we went to Wisconsin in September the guide required studless wading boots to protect his boat, and I had dutifully removed our studs and put them away where I wouldn’t lose them. Then I promptly lost them.

In Oregon we’d waded with Patagonia River Crampons, and they worked great, so if I didn’t find the studs I wouldn’t necessarily need to replace them. Studs aren’t much. They’re short sheet metal screws that screw into the bottom of boots, but once they’re labeled with a brand name at a fly shop they get a bit pricey. Maybe they’re tungsten or aluminum or gold or some such. Since we don’t use felt-soled boots anymore, studs are the minimum needed to keep your footing on slick rock. 

The older I get, the more I worry about falls in rivers, and along with studs I now use a wading staff.  I’m a wobbly tripod in the watter, and in a few years I may drop the fly rod altogether and just carry two wading staffs. If a fish comes along I’ll point at it. The staff I use is a Folstaff, a shock-corded tent pole that with a bit of a shake snaps together at five joints. Putting it away is sometimes a bit of a struggle, and the first few times a joint got stuck I used a vice and some vice clamps to separate the sections. I’ve discovered over time that with a bit of wiggling the joints separate well enough, though not altogether easily, and having the separated sections get away from you and snap back together is almost as annoying and as common as a good tangled leader. 

I like my staff, with its collected scrapes and darkened cork handle, but largely because of the separation anxiety I found myself on Saturday eyeing a new Fishpond staff at the shop. It extended like a photographer’s tripod. I imagined that it wouldn’t take desperate measures to put it away, but that it also wouldn’t extend with that satisfying snap.  

Meanwhile Kris looked for the studs and didn’t find them either, but she reminded me that I’d put them in a plastic bag, not a box.  This morning I went right to them and they’re back in the boots.  Now I’d just like a bit warmer weather, and we do need to clean our boots.