Analysis of How to Talk to a Hunter by Pam Houston

Analysis of 'How to Talk to a Hunter' by Pam Houston How to Talk to a Hunter by American writer Pam Houston (b. 1962) was originally published in the literary magazine Quarterly West. It was subsequently included in The Best American Short Stories, 1990, and in the authors 1993 collection, Cowboys Are My Weakness. The story focuses on a woman who continues dating a man a hunter even as the signs of his infidelity and lack of commitment mount. Future Tense One striking feature of the story is that it is written in future tense. For example, Houston writes: You will spend every night in this mans bed without asking yourself why he listens to top-forty country. The use of future tense creates a sense of inevitability about the characters actions, as if shes telling her own fortune. But her ability to predict the future seems to have less to do with clairvoyance than with past experience. Its easy to imagine that she knows exactly what will happen because it or something just like it has happened before. So the inevitability becomes as significant a part of the story as the rest of the plot. Who Is the You? I have known some readers who resent the use of second-person (you) because they find it presumptuous. After all, what could the narrator possibly know about them? But for me, reading a second-person narrative has always seemed more like being privy to someones internal monologue than like being told what I, personally, am thinking and doing. The use of second-person simply gives the reader a more intimate look at the characters experience and thought process. The fact that the future tense sometimes changes to imperative sentences like, Call the hunters machine. Tell him you dont speak chocolate only further suggests that the character is giving herself some advice. On the other hand, you dont have to be a heterosexual woman dating a hunter to be dating someone whos dishonest or who shies away from commitment. In fact, you dont have to be romantically involved with someone at all to be taken advantage of. And you definitely dont have to be dating a hunter in order to watch yourself enact mistakes that you see perfectly well are coming. So even though some readers might not recognize themselves in the specific details of the story, many might be able to relate to some of the larger patterns described here. While second-person might alienate some readers, for others it can serve as an invitation to consider what they have in common with the main character. Everywoman The absence of names in the story further suggests an attempt to portray something universal, or at least common, about gender and relationships. Characters are identified by phrases like your best male friend and your best female friend. And both of these friends tend to make sweeping declarations about what men are like or what women are like. (Note: the entire story is told from a heterosexual perspective.) Just as some readers might object to second-person, some will surely object to gender-based stereotypes. Yet Houston does make a convincing case that its difficult to be completely gender-neutral, as when she describes the verbal gymnastics that the hunter engages in to avoid admitting that another woman has come to visit him. She writes (hilariously, in my opinion): The man who has said hes not so good with words will manage to say eight things about his friend without using a gender-determining pronoun. The story seems entirely aware that its dealing in clichà ©s. For example, the hunter speaks to the protagonist in lines from country music. Houston writes: Hell say you are always on his mind, that youre the best thing thats ever happened to him, that you make him glad that hes a man. And the protagonist answers with lines from rock songs: Tell him it dont come easy, tell him freedoms just another word for nothing left to lose. Though its easy to laugh at the communication gap Houston portrays between men and women, country and rock, the reader is left wondering to what extent we ever can escape our clichà ©s.