Introduction

“Gunman’s Debt” is from an untitled typescript, and, according to typescript detective Patrice Louinet, may have inherited the wrong title. On an inventory sheet prepared by Howard’s agent, Otis Kline, after Howard’s death, appears two stories that are now lost: “The Killer’s Debt” and “Gunman’s Debt.” The actual “Gunman’s Debt” was rejected by Fiction House on June 1, 1932, with editor John Byrne saying:

“In spite of your revision, ‘Gunman’s Debt’ doesn’t go over. [. . .] First, you have made too much use of coincidental material; and secondly, you’ve overworded the story a great deal.”

Louinet has dated the pages we now call “Gunman’s Debt” to 1933, well after the story with that title was rejected.

Louinet theorizes that in 1931 and 1932, when Howard was rewriting older stories and trying to market them (“Drums of the Sunset” becoming “Riders of the Sunset,” for example), he took the unsold “The Judgement of the Desert” and rewrote it into “Gunman’s Debt.” After reading “Judgment,” it is clear that both Byrne’s comments above and the new title would fit the story well. And, there are two stray typescript pages, numbered 13 and 16, that are clearly rewritten from “Judgment”. Perhaps Howard rewrote “Judgment” into “The Killer’s Debt” and sent it to Byrne. This was rejected, and Howard rewrote it a third time, changing the title to “Gunman’s Debt,” which was also rejected. Upon Howard’s death, both versions ended up in Kline’s archives and have since vanished.

As for the story we now know as “Gunman’s Debt,” there are at least three attempted synopses, all untitled: one aborted, one complete, and one missing a page. A single stray page from an alternate draft exists. The text of that page fits almost seamlessly into the present draft, and has been included here. The text of the new page begins at the bottom of page 86 (in Western Tales) with, “I can’t understand where Garfield got the money . . .” and ends with, “Everybody packs guns in San Juan.”

Story and plot

“Gunman’s Debt,” a Western tale by Robert E. Howard, offers a vivid glimpse into the raw and tumultuous world of the Old West. Set in the small prairie town of San Juan, Kansas, the story unfolds with the arrival of Texan John Kirby, who is quickly ensnared in a web of deceit and long-standing feuds. Unbeknownst to Kirby, the town is under the clandestine control of Captain Blanton and his chief henchman, Jim Garfield, an old enemy from Kirby’s past along the Rio Grande.

The narrative takes a dark turn as Garfield plots to kill Kirby and then lead Blanton’s men to Texas to wipe out the Kirby family. However, the town of San Juan is riddled with its own undercurrents of intrigue and betrayal, complicating Garfield’s plans. The appearance of Grizzly Elkins, a character familiar from Howard’s other works, adds a twist to the tale, as he sides with Kirby in the fight against the town’s corruption.

A significant element of the story is the role of a female character who initially aids Kirby, only to later betray him. Her actions underscore the themes of trust and deception that permeate the narrative.

Despite its gripping plot and Howard’s signature fast-paced and punchy writing style, “Gunman’s Debt” faced rejection from Fiction House in 1932. Editor John F. Byrne’s letter cited an overreliance on coincidental material and overwording as key reasons for the rejection. However, Byrne acknowledged the inherent strengths in Howard’s storytelling.

The story’s backdrop, likely influenced by Howard’s upbringing in Cross Plains, Texas, during the 1920s, reflects a time when tales of cattle drives and trail towns were part of the cultural fabric. Although there’s no record of Howard reading J. Marvin Hunter’s “Trail Drivers of Texas,” the era of cattle drives provides a historical context enriching the narrative of “Gunman’s Debt.”

In essence, “Gunman’s Debt” is a testament to Howard’s ability to weave historical elements with fiction, creating a compelling portrayal of the Old West. The story stands as a poignant example of Howard’s talent for crafting narratives that, despite initial setbacks, have endured as significant contributions to the Western genre.

From the letters

The story was rejected by Fiction House on June 1, 1932. Here is the letter from John F. Byrne:

Dear Howard:

In spite of your revision “Gunman’s Debt” doesn’t go over. I have two objections to it in its present form:
First, you have made too much use of coincidental material; and secondly, you’ve overworded the story a great deal.
Your writing is your usual fast and punchy stuff, but the above objections outweigh this good factor.

Sincerely,
John F. Byrne,
Editor.

See also: Gunman’s Debt (three synopses) and Gunman’s Debt (synopsis – page 4).

Characters

  • John Kirby: The protagonist, a skilled gunman involved in a feud.
  • Joan Laree: A woman from the dance hall, entangled in the plot against Kirby.
  • Jim Garfield: Kirby’s old enemy, involved in a deadly feud.
  • Captain Blanton: A powerful figure in San Juan, orchestrates much of the conflict.
  • Red Donaldson: A character linked to Joan and the town’s shady dealings.
  • Grizzly Elkins: A buffalo hunter who becomes an unexpected ally to Kirby.
  • Bill Rogers: The marshal of San Juan.
  • Jackson: The deputy marshal.

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Gunman's Debt draft false start with map