It was the super popular S-Town podcast that made me return to this collection. I read this collection about 10 years ago and had forgotten all but the most brutal scenes. But I was moved to revisit after learning our real-life tragic hero of S-Town, John McLemore, calls this collection “the grief manual” and was in the habit of reading the entire collection over and over.
As evidenced by John McLemore’s identification with Proulx’s characters, these stories pack a powerful punch with men. The stories are written in a specifically masculine voice. Not only that, they’re about male culture. “The Mud Below” is a case in point — our tragic hero Diamond Felts is a rodeo performer. Women exist only peripherally in that scene. We all know a good writer has to be “genderless”. That’s often said. But can you think of any iconic male writers who have so successfully portrayed specifically female arenas, over and over? What Annie Proulx has done here is truly amazing. She is able to cross gender boundaries better than anyone else I can think of, and it’s a skill that’s almost expected of female writers rather than admired as something extra. Historically, men write about men; women write about men and women.
Does Annie Proulx write about women, though? These stories are all about men, with women on the periphery. What Proulx does so well is she manages to write about masculine culture while at the same time setting that against femininity. Here we might read the landscape as ‘feminine’. Animals, too, are associated with femininity. According to these try-hard cowboys, animals, the landscape, and also women themselves are there to be tamed and conquered.
“The Mud Below” was first published in the 1998 summer issue of The New Yorker and is the second short story in Proulx’s Close Range collection, retitled Close Range: Brokeback Mountain And Other Stories after the movie adaptation.