In the rural town of Verdon, Nebraska, in the early days of the 20th century, you can't go ten feet without running into one of the Fargos. So, Grant Fargo argues to his grandfather Lincoln, it's perfectly all right that he's desperately in love with his first cousin, Bella-she's the only source of intelligent conversation for miles, and in a town like Verdon, it would be hard not to end up with a relative of one kind or another.
Before it all plays out, men will be murdered, jailed, tarred and feathered or worse, and while everyone in the Fargo clan would kill for the family deeds, God might just end up with them instead. In HEED THE THUNDER, one of Thompson's earlier works, Thompson's signature style collides with a sweeping picaresque of the American prairie, in a multigenerational saga that's one part Steinbeck, two parts Dostoyevsky, and all Jim Thompson.
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Fargo has spent his life engaging in almost every vice imaginable--and his only regret is that he once stole a horse. His son Grant, a shiftless dandy with a resemblance to Edgar Allan Poe, is conducting an affair with his voluptuous and volatile cousin. And behind everyone's back, Grandmother Pearl has just signed the family property over to the Almighty.
In the literature of the American prairie, few families are as brawling, as benighted, or as outrageously vital as the Fargos of Verdon, Nebraska. And when Jim Thompson chronicles their life and times, the result suggest Willa Cather steeped in rotguut--and armed with a .45.
Jim Thompson was born in Anadarko, Oklahoma. He began writing fiction at a very young age, selling his first story to True Detectivewhen he was only fourteen. Thompson eventually wrote twenty-nine novels, all but three of which were published as paperback originals. Thompson also co-wrote two screenplays (for the Stanley Kubrick films The Killing and Paths of Glory). Several of his novels have been filmed by American and French directors, resulting in classic noir including The Killer Inside Me (1952), After Dark My Sweet(1955), and The Grifters (1963).
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