Little Big Man

Little Big Man is a story purporting to tell the “truth” about the old American West. It is ostensibly transcribed from the tape-recorded reminiscences of “the late Jack Crabb—frontiersman, Indian scout, gunfighter, buffalo hunter, adopted Cheyenne—in his final days upon this earth.” That Jack’s final days come some 111 years after his first, and that he claims to have been the sole white survivor of the Battle of the Little Bighorn, puts this “truth” in some doubt. Equally strong and contradictory evidence exists that the last of the old-timers is hopelessly senile and that he is a fiction maker as concerned with developing his own story as a narrative to be read as he is with relating the incidents of his life. Furthermore, Jack’s narrative comes to us through the patently unreliable editorship of one “Ralph Fielding Snell,” a fatuously gullible and weak-minded self-professed “man of letters,” who not so incidentally reveals a number of parallels between his life and that of his narrator. Snell, who does admit to some doubts about Jack’s story, also admits that he passes on its claims only after his own emotional collapse of some ten years, and his foreword and epilogue contain numerous hints that this emotional condition persists.

Yet against all of this postmodern self-reflexivity stands the disarming realism of Jack’s tale, the authority and credibility of his voice. The action in Little Big Man is episodic, its story a macaronic of historical events and personages, its atmosphere the swirling myths that transformed people and events into America’s defining epoch: the West. What unites the disparate threads of the novel’s action and its swings between the antithetical world views of white and Indian cultures is Jack’s voice and vision as he takes his place in the great American literary tradition started by James Fenimore Cooper with his character, Natty Bumppo—the legendary Leatherstocking.

Significantly unlike Leatherstocking, however, Jack can be counted on to describe frontier life with both humor and accuracy. Whatever else may be said of Jack Crabb, let there be no doubt that he gets things right whenever he speaks of customs or events in the Old West. Indeed, Jack’s description of Cheyenne life draws heavily from anthropological studies such as E. Adamson Hoebel’s The Cheyennes: Indians of the Great Plains and George Bird Grinnell’s The Fighting Cheyennes. Likewise, when Jack speaks of Custer or the cavalry, the fine points and drawbacks of specific handguns, the growth of frontier cities, or other matters of white culture, he is equally accurate and often insightful. There is simply no way of knowing how many of Jack’s experiences Berger directly or indirectly drew from other sources. Acknowledging many of those sources, Berger says of his research: “After reading some seventy books about the Old West I went into a creative trance in which it seemed as though I were listening to Jack Crabb’s narrative.” The brilliance of Little Big Man, however, has much more to do with Berger’s principles of selection, combination, and comment than with the diversity and accuracy of his sources.

And it should not be overlooked that Jack also consistently offers a folksy-sounding but astute critical commentary on the literature of the West. Indeed, one of the wonderful ironies inherent in Berger’s structure is that Jack, the ostensible man of action, reveals much more literary sophistication than does Snell, the ostensible “man of letters.” Just as surely as Jack’s account of his life explores the nature and importance of western myths—both white and Indian—it also explores the linguistic and literary mechanics of myth-making, whether in history, anthropology, journalism, or the novel itself.