In lieu of an abstract, here is a brief excerpt of the content: Reviews 63 incomplete, like the rest of us — but he has written this book. He comes back down, over the passes and down the dark canyons, grumbling, dis­ appointed with himself, into the hot and humid lowlands. Looking in a mir­ ror for the first time in two months, he says, “the blue eyes in a monkish skull seem eerily clear, but this is the face of a man I do not know.” Such a remark epitomizes the openness of The Snow Leopard, and the scene dramatizes its central concern. The book has the immediacy and unplanned-ness of great travel narrative — its journal form is just right — and Matthiessen’s descriptions of the soaring country and the mountain people seem utterly clear, utterly effortless.

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But behind it all is the author’s Buddhism, giving the book dimension and, more than observation, vision. LYON, Utah State University California Heartland: Writing from the Great Central Valley. Edited by Gerald Haslam and James Houston. Illustrated by Clayton Turner.

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(Santa Barbara: Capra Press, 1978. 224 pages, $4.95 paper, $15 cloth.) Where has California gone? For some, its innocence went with Ishi, last of the native Yahi Californians. For others, its spirit has vanished under the blight of freeway culture, subdivision civilization, and pizza-to-go out­ posts of progress.

But there is another California, a legendary country of Bret Harte’s Mother Lode and Muir’s Yosemite, Dashiell Hammett’s San Francisco, Jack London’s Sonoma, Leonard Gardner’s Stockton, Saroyan’s Fresno and Steinbeck’s Salinas, Jeffers’ Big Sur, and Raymond Chandler’s Los Angeles. Perhaps the California of “imagination and improvisation” is, after all, the true California. California Heartland is the first anthology to showcase the writers and writing of the Great Central Valley, an agricultural empire of spacious landscapes, provincial towns, and robustly poetic storytellers who preserve an abiding love of the land and its people. The valley is the last bastion in California of an older West. Its earthy, vital inhabitants — pickers, drifters, dreamers, boxers, truckers, cash register evangelists, threadbare migrants, corporate farmers, and gaudy rodeo riders — seem to walk out of life into the pages of this book.

Arranged in chronological sequence, California Heartland records the visions of valley Indians, literary pioneers, and modern social realists. By devoting most of its space to contemporary interpreters, the book gives us a truly representative cross-section of new regional writing, pointing out those writers of promise who bear watching.

64 Western American Literature There are many to watch. Novelist Thomas Sanchez. Fender Srv Stratocaster Serial Numbers. Short story writers Richard Dokey and William Rintoul. Poets George Keithley, Bill Hotchkiss, and Lawson Inada. But the diverse talents and voices of these valley writers serve an even more valuable purpose. “They remind us,” the editors say, “that there are still tales and verses about distinct groups of people inhabiting specific parts of the country, who we are not likely to see on network television, where other tale-tellers conspire with the fast-food chains to absorb all our differ­ ences into one homogeneous, coast-to-coast mythology.” What we have here instead are storytellers and poets of the soil who lead us back to what we have forgotten, to the lives and myths which exist in a world apart from those served up for mindless consumption by the mesmerizing Tube.

The illuminations offered by Heartland’s writers go far beyond the games, sitcoms, and commercials which have become our prevailing cultural shibboleths. By the paradox of art, the well-defined literature of the Central Valley gives us a glimpse into the mysterious hinterland of ourselves, a vision of our own interior nature. Here is a country worth discovery. Here is region­ alism that is more than local color. Here is the heartland in which each of us dwells.