Introduction

A huge, riveting, deeply imagined novel about the siege and fall of the Alamo in 1836--an event that formed the consciousness of Texas and that resonates through American history--The Gates of the Alamo follows the lives of three people whose fates become bound to the now-fabled Texas fort: Edmund McGowan, a proud and gifted naturalist whose life's work is threatened by the war against Mexico; the resourceful, widowed innkeeper Mary Mott; and her sixteen-year-old son, Terrell, whose first shattering experience with love leads him instead to war, and into the crucible of the Alamo. The story unfolds with vivid immediacy and describes the pivotal battle from the perspective of the Mexican attackers as well as the American defenders. Filled with dramatic scenes, and abounding in fictional and historical personalities--among them James Bowie, David Crockett, William Travis, and General Santa Anna--The Gates of the Alamo enfolds us in history and, through its remarkable and passionate storytelling, allows us to participate at last in an American legend.

Editorial Review

A novel about the Alamo promises as much suspense as a movie about the Titanic: we already know how it's going to end. The bloody siege of the Alamo was, of course, not only the defining crisis in the Texan struggle for independence from Mexico but also an event that secured martyrdom for the 200 or so men who died there and transformed a dusty Franciscan mission into a national shrine, an American Troy. As with all mythologized chronicles, however, the Battle of the Alamo ultimately resolves into mundane fact, a catalog of human error, ego, and heroism. And it is these details that Stephen Harrigan regards in his broad and powerful third novel, The Gates of the Alamo.

Passing lightly over the oft-profiled Alamo stalwarts--Jim Bowie, Davy Crockett, and the young commander William Travis--Harrigan focuses on fictional secondaries, primarily botanist Edmund McGowan and mother and son Mary and Terrell Mott. Rigidly devoted to his work, Edmund straddles the fence in the dispute over Texas, even as war murmurs grow. But when he meets widowed Mary, who maintains her small inn with a steady, gentle resourcefulness, his good nature pulls him steadily into the inevitable conflict. Mary herself is forced to quarter Mexican soldiers; and then, as she watches incredulously, her young son seeks to test himself in the erupting skirmishes. Eventually the trio find themselves inside the Alamo during the nearly two-week battle, their various conciliations frustrated by the surrounding mayhem.

Harrigan's Texas is an uncertain, dangerous jostling of peoples, a place where disaster threatens too frequently, where practical knowledge is paramount and political ambivalence untenable, and where a primal beauty appears often as if by magic: "Hundreds and hundreds of lush gray cranes ... spanned the sky almost from horizon to horizon, and the whole procession moved with the quiet, ordained manner in which events unfold in a dream." However, the emblematic significance of the Alamo itself remains inscrutable. As Mary tends to the dying, watching hope turn to hopelessness, she can only respond to Travis's rallying orations with disillusionment: "She had heard enough of these empty patriotic effusions by now to feel that the Alamo was nothing but a sinking island of rhetoric." The Gates of the Alamo nonetheless sweeps us into the many and variegated smaller stories that compose the larger one. It's a book to remember. --Ben Guterson

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