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Instead it angered me at first. It's Noble Savage arrogance coupled with its 60s "drugs are so cool" aesthetic just bothers me. A prime example would be the narrator going to visit one of don Juan's friends that "knows how to dance like a NATURAL man". Castenada visits the guy's house, finds out that he's working in the field, and then comes back just as the guy has finished working. Castaneda says that the Indian seems tired, blitzed out of his mind, like he was on drugs. Castaneda apparently was too stupid to realize that a person picking grapes under the hot sun for 10 hours straight isn't going to seem very coherant. Castaneda then wonders why the migrant worker won't show him his magical dance steps and shoos him off the front steps.
Several other scenes like this abound, such as Castaneda getting sad when he sees begger children, but being told that they are more free. Or Castaneda laughing at the "gentle ironic humor" of his subject telling him that he'd probably use his first book as toilet paper (oh ha ha - poverty is so cute.)
But then I realized that Castaneda is telling all these stories second-hand, while don Juan and friends keep pushing peyote and psichlobin mushrooms on him. That's when the book was funny. If you are smart enough to realize that it's the story of a bunch of Indians annoyed with a smug white guy and decided to mess with his head. Sadly it's told from teh white guy's perspective, but it is funny just how clueless he is about the ways in which he's being mocked, ridiculed and played with throughout the book...P>So if you are into the drugs=spirituality kick, read this book because it will open your mind. However, if you have a modicum of intelligence and enough experience and perception to get over the Nobel Savage stereotype, you'll find this to be one of the funniest books ever -- a classic in Indian humor.
This book seemed boring at first, In the beginning the author introduce the characters, but after that there doesn't seem to be enough action,but when you get into it the book gets more interesting, for instance, get's to the point were four or five chapters later you get into the book more easily, because it tells about coyote Runs
"Canyons" is a good and compelling book. Gary Paulsen alternately tells the story of Coyote Runs and Brennan, and eventually brings their two stories together to make the book even better. There are several high points in the story that seem like they're the climax of "Canyons," but as you read on you'll read even better parts, making it all the more compelling. If you like good adventure books, I definitely recommend reading "Canyons."
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To my surprise, I found I was hooked immediately. It definitely has a soap opera feel, and at times is melodramatic, but on the whole, the author offers a sweet, sad story. It's definitely predictable, but sometimes that's ok. What I liked best was that Mr. Evans actually developed his characters. There were elements of depth that I'm not use to reading in popular novels.
All in all,I would recommend this book. I have a feeling it's probably better than the Robert Redford film, which I bet is more focused on his character, Tom Booker, than the book was. But, I guess, eventually I'll rent it and see for sure. And, hopefully, be pleasantly surprised.
Others here have commented on the gore and adrenalin surging accident of Grace and the conveniently named Pilgrim and I from similar experiences found it traumatic - for the horse, but not for Grace herself because her story is really the means by which she and her mother find grace. Her mother Annie is forced to take stock of a life that she fears is not satisfying and which casts an effect on her child and her marriage.
If Tom, in a typical display of the western horseman, seems wooden through a lack of dialogue it is because he relates to the world through the horses he works with, espousing the simple wisdoms of a man who has learned to read what is subtle and unspoken. His loneliness is echoed in the souls of Pilgrim, Grace and Annie.
That Annie and Tom predictably fall in love and betray her marriage vows, in a different rendition of Graces relationship with Pilgrim, is not an issue. It is that only through the catalyst for change in Tom and the nature of his work with Pilgrim we find the key to the characters, that they too must sacrifice the instinct for self preservation to be remade with maturity.
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