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on The Wild Bunch (1969) and The Ballad of Cable Hogue (1970), and Engel himself on Pat Garrett and Billy the Kid (1973). These fine essays, with their keen eye for visual detail and symbolic meaning, wholly persuade the reader of Peckinpah's mastery when working at the height of his powers. But what about when those powers failed Peckinpah-or, as often happened, when the studio meddled with his vision? The volume seems to concede that his wildest, most offensive films are beyond mention, let alone redemp tion: gone missing here are both Straw Dogs (1971), despite its obvious debt to Western narratives of besiegement and revenge, and Bring Me the Head of Alfredo Garcia (1974), another foray into dusty, darkest Mexico. Instead, we read about less germane films-The Getaway (1972) and Convoy (1978)-in essays by Stephen Tatum and Elaine Marshall that, however insightful, veer far enough into the outlying reaches of what Engel calls the "quasi-Western" that one cannot help but feel that he, as editor, is avoiding rougher terrain closer to home (16 n. 1). Riskier and thus more interesting is the approach taken by those critics who freely admit that Peckinpah's work often is, as Wanat say

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Author

Bogard, Paul

Publisher

Project MUSE; Western Literature Association (ISSN 1948-7142)

Published

2006

Language

EN

Field

Arts and Humanities (Social Sciences)