Rhett Butler's People

Starred review from December 24, 2007
Read with eloquence, charisma and a bit of spontaneity tossed in by John Bedford Lloyd, McCaig's interpretation of the classic Margaret Mitchell tale is the perfect platform for narration. Lloyd's reading is well paced, never rushing to cover the abundance of material in the lengthy text. With a cast as large as the sprawling settings and landscapes of the story, the opportunity for improvisation is abundant. Lloyd navigates through the personality stew with an expansive tonal pallet crammed with a variety of accents that range from distressed Southern belle to tough-nosed Confederate major, clearly evoking the grim melancholy and tainted triumph of the legendary tale. Channeling the rugged masculinity of Clark Gable when portraying Butler, Lloyd has fun with the story, creating a memorable experience for the listener. With a profusion of drama, action, romance and tragedy, Lloyd gets it right every time and never fails to convey the underlying tension throughout. Simultaneous release with the St. Martin's Press hardcover (reviewed online).

November 12, 2007
Was it strictly necessary to our understanding of Gone With the Wind's dashing hero to flesh out his backstory, replay famous GWTW scenes from his perspective, and crank the plot past the original's astringent denouement? Perhaps not, but it's still a fun ride. In this authorized reimagining, Rhett, disowned son of a cruel South Carolina planter, is still a jauntily worldwise charmer, roguish but kind; Scarlett is still feisty, manipulative and neurotic; and the air of besieged decorum is slightly racier. (Rhett: "My dear, you have jam at the corner of your mouth." Scarlett: "Lick it off.") But it says much about the author's sure feel for Margaret Mitchell's magnetic protagonists that they still beguile us. McCaig (Jacob's Ladder) broadens the canvas, giving Rhett new dueling and blockade-running adventures and adding intriguing characters like Confederate cavalier-turned-Klansman Andrew Ravanel, a rancid version of Ashley Wilkes who romances Rhett's sister Rosemary. He paints a richer, darker panorama of a Civil War-era South where poor whites seethe with resentment and slavery and racism are brutal facts of life that an instinctive gentleman like Rhett can work around but not openly challenge. McCaig thus imparts a Faulknerian tone to the saga that sharpens Mitchell's critique of Southern nostalgia without losing the epic sweep and romantic pathos. The result is an engrossing update of GWTW that fans of the original will definitely give a damn about.

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