David Morrell - The Shimmer

“roo” shooter. We were doing some shooting at night by spotlight. We were out in the middle of nowhere-no houses or roads anywhere nearby.

We saw a light. It was just suddenly there. We didn’t see it coming at all. It just appeared and shadowed us. It did not seem to get closer or move away. It just stayed the same distance from us, moving with us. The thing wasn’t on the ground or high in the air. It just sort of hovered. It lasted about 10 minutes, and what makes it vivid in my memory is that it shook my old man up. He knew we weren’t remotely anywhere near homes or vehicles. This thing really had him worried, and then it was gone.

With that image drifting through my mind, I came across the DVD version of one of my favorite movies, Giant (1956). Directed by George Stevens, it stars James Dean, Elizabeth Taylor, and Rock Hudson in an epic about a Texas oilman’s multidecade feud with a prominent cattle family. To my amazement, a documentary informed me that a lot of the film had been photographed in Marfa, the same town where the lights appear. Moreover, a subsequent Internet search revealed that James Dean had been fascinated by the lights. He’d dragged his costars and his director to the viewing area, but he turned out to be the only one who could see them.

These elements worked on my imagination until, almost three years after that November morning when I’d come across the news- paper article, I was again visited by the image of the solitary woman who stood in the darkness at the side of a road, staring at the mysterious lights. But now I had another image: a man flying a single-engine airplane (I had recently started private-pilot lessons). To this I added the giant dishes of a radio observatory (there is in fact an observatory near Marfa) and the ruins of a military airbase from World War II (an abandoned airbase does exist outside Marfa, near where the lights appear).

I wasn’t sure how all these items could be connected. Even so, I suddenly couldn’t wait to begin. I made a list of all the elements I wanted to include, creating my own versions of people who in actuality had seen the lights: the rancher in the 1880s, the schoolteacher in the 1910s, James Dean in the 1950s, and the crowd involved with the ghost-light hunt in the 1970s. Yes, there really was a ghost-light hunt. A surprising amount of “reality” is in The Shimmer.

Of course, it’s an alternate reality in the same way that Marfa and Rostov are alternate versions of a town in west Texas. Marfa is supposedly named after a character in Dostoyevsky’s Crime and Punishment, whereas I named Rostov after a character in Tolstoy’s War and Peace. Despite the parallels, no one in The Shimmer is meant to be identified with anybody in Marfa, although I hope that this novel makes you want to visit Marfa, which has come a long way since its cattle-town days and is now a picturesque artists’ community similar to Sedona, Arizona, and Santa Fe.

In one respect, however, reality needed improving. Outside Marfa, the famous ranch-house set for Giant, which I call Birthright, was indeed only a facade. Although it appeared to be an entire, grand building, if you walked behind it, you found only open grassland. Over the years, that fake front disintegrated until only its support beams re- main, and they won’t stay upright much longer. Because of my fondness for Giant, in The Shimmer I allowed the movie set to endure.

For more information about this novel’s background, search the Internet for “Marfa lights.” You’ll find over half a million sites. The more you learn, the more you’ll understand what I meant earlier when I wrote that a surprising amount of “reality” is in this book.

My father was killed during World War II, shortly after I was born in 1943. My mother had difficulty raising me and at the same time holding a job, so she put me in an orphanage and later in a series of boarding homes. I grew up unsure of who I was, desperately in need of a father figure. Books and movies were my escape. Eventually I decided to be a writer and sought help from two men who became metaphorical fathers to me: Stirling Silliphant, the head writer for the classic TV series "Route 66" about two young men in a Corvette who travel America in search of themselves, and Philip Klass (whose pen name is William Tenn), a novelist who taught at the Pennsylvania State University where I went to graduate school from 1966 to 1970. The result of their influence is my 1972 novel, First Blood, which introduced Rambo. The search for a father is prominent in that book, as it is in later ones, most notably The Brotherhood of the Rose (1984), a thriller about orphans and spies. During this period, I was a professor of American literature at the University of Iowa. With two professions, I worked seven days a week until exhaustion forced me to make a painful choice and resign from the university in 1986. One year later, my fifteen-year-old son, Matthew, died from bone cancer, and thereafter my fiction tended to depict the search for a son, particularly in Fireflies (1988) and Desperate Measures (1994). To make a new start, my wife and I moved to the mountains and mystical light of Santa Fe, New Mexico, where my work changed yet again, exploring the passionate relationships between men and women, highlighting them against a background of action as in the newest, Burnt Sienna. To give his stories a realistic edge, he has been trained in wilderness survival, hostage negotiation, executive protection, antiterrorist driving, assuming identities, electronic surveillance, and weapons. A former professor of American literature at the University of Iowa, Morrell now lives in Santa Fe, New Mexico.