“A livin’ thing in a dead thing is opposed to nat’er.”
These
almost immortal words of wisdom come
from Old Joe Garfield, who certainly ought to know. Garfield is a veteran of the last of the American
Indian wars fought on the western frontier near the end of the nineteenth
century. He does not look a day over
fifty, even though decades have passed.
He never seems to age.
The
narrator’s grandfather may know why. He tells
his disbelieving grandson how he first met Joe Garfield back in 1870—the latter
was one of the first white men to settle in Lost Knob, Texas. They once fought together against a band of
Comanches. In the fight Garfield was run
through with a lance, suffering a fatal wound in his chest. Just before he was about to die, a strange old
Indian friend of Garfield’s takes him behind a clump of mesquite, and performs a
mysterious Native American ritual.
Garfield soon revives, and then ceases to grow older. “He don’t look a day older now than he did
the first time I saw him,” says the grandfather.
This
is the back story to Robert E. Howard’s Old
Garfield’s Heart, originally published in the December 1933 issue of Weird Tales. It appeared along with Monkeys, by E.F. Benson, and The
Lady in Gray, by Donald Wandrei. H.P.
Lovecraft did not appear in this issue of Weird
Tales, but around this time he published The Other Gods, and the more familiar classic, The Dreams in the Witch-House.
Old Garfield’s Heart is an odd and untidy mix of
western and horror genres. There are
several bar fights, knifings and shootings, as well as swindles involving
horses and cows. The fact that Joe
Garfield is being kept preternaturally alive by heart tissue transplanted from
an ancient Indian deity seems beside the point.
When
the story opens, Garfield has again been mortally wounded, this time after
trying to break in a young horse. “He’s all smashed up inside. He won’t live till daylight,” says the
doctor. But Garfield survives again, his
body healing rapidly through the power of the borrowed heart that beats inside him.
More
is learned from Garfield about the origins of this heart, and the conditions
under which it must be returned. He makes
the doctor and the narrator promise
that they will return the heart to its owner if his body is damaged beyond
repair. Otherwise, “as long as it beats
in my body, my spirit’ll be tied to that body, though my head be crushed like
an egg underfoot! A livin’ thing in a rottin’ body!”
They promise.
A
subplot involving murderous retribution between the narrator and a swindler
named Jack Kirby culminates in a drive-by, well…gallop-by shooting. But Kirby hits Garfield by accident, blowing
most of his head off zombie fashion just as he is well enough to get up out of
bed. Kirby gallops off on his horse but
rings his neck on a low hanging branch.
This is often an occupational hazard for escaping bad guys in westerns. By the end of the story, everything is put
back where it belongs.
Few
westerns contain words like these from a stricken cowboy: “I can’t die…Not so long as my heart’s in my
breast. Only a bullet through the brain
can kill me. And even then I wouldn’t be
rightly dead, as long as my heart beats in my breast. Yet it ain’t rightly mine, either…”
Old Garfield’s Heart contains plenty of frontier western
style characters and violence, and all the action moves the story along, just
as it does in a movie Western. But the
presence of the supernatural seems intrusive and disconnected—and does not
appear to make a difference in the end anyway.
Violent cowboys die violently, as always. At least the Indians, when they are not busy defending
their ancestral lands from rampaging Texans, are decent and helpful.
Old Garfield's Heart may be found in an excellent collection The Horror Stories of Robert E. Howard, (2008, Del Ray).
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