Ninety-Two in the Shade unveils a vision of America drained of its vigor and authenticity, a realm McGuane evocatively dubs "Hotcakesland." This land is the inevitable continuation of the journey Nicholas Payne embarked upon in The Bushwhacked Piano (197X; refer to separate entry). The protagonist, Thomas Skelton, returns to his roots in Key West, seeking refuge from the desolation that blankets the continent. Yet, what he encounters is merely the eccentric outliers of his society, draped in cheap showmanship and a frenzy of consumerism.

In this setting, it feels fitting that Skelton resides within an abandoned airplane fuselage, neighboring a rundown hostel where an intoxicated drill sergeant orchestrates the daily spectacle of inebriated tenants in a gag-inducing regimented exercise. When the principles that once supported cultural frameworks are dismantled or vanish, all that remains is the empty husk of those structures, ready to be repurposed for questionable intents. What was once biting satire in The Bushwhacked Piano now manifests as a more weary, disillusioned acceptance — a vision of American culture stripped of its essence, a cemetery of irreparably shattered dreams.

McGuane's fiction weaves a tapestry of interconnected narratives, where echoes of familiar themes reverberate throughout his works. Observers have often noted that his novels share a symbiotic relationship, with protagonists who appear to be reimagined versions of their forerunners. In his inaugural novel, The Sporting Club (1969), McGuane sets the stage for his fascination with the primal clash between men, coupled with his daring, often bold exploration of sexuality.

By the time he pens Panama (1978), his fourth novel, there is a noticeable shift as he adopts first-person narration. Despite this narrative evolution, the story remains tethered to its predecessors through autobiographical threads—a nuanced yet persistent hallmark of McGuane's storytelling.

Nobody’s Angel refines this journey further with a more concise and deliberate prose, shedding the excess of previous works to deliver a narrative that many critics find deeply resonant. It paints an evocative picture of Patrick Fitzpatrick's inexplicable melancholy, a refreshing twist on the tribulations faced by McGuane’s earlier characters.

Something to be Desired tentatively addresses the obsessions over women that haunted so many of his heroes, offering glimpses of resolution. Rather than redundant, McGuane's novels embody a dynamic evolution, mirroring the changing times and reflecting the author's own maturation, demonstrating a gentle yet undeniable transformation in both subject matter and stylistic approach.

The cinematic adaptation of Ninety-Two in the Shade, unveiled by United Artists in 1975, showcases McGuane at the helm, both as screenwriter and director. With a stellar cast featuring Peter Fonda, Margot Kidder, and Warren Oates, the film resonated well with critics and audiences alike. Its charm lies in its refreshing departure from the polished veneer typical of Hollywood, coupled with outstanding performances—most notably, Oates’ portrayal of Nichol Dance, which garnered particular acclaim. Enthusiasts of auteur theory will find this film intriguing, as it represents a rare opportunity where a novelist orchestrates both the narrative and its cinematic execution. McGuane's significant modifications to his novel, including two distinct endings, add further interest to this unique artistic endeavor.

Ninety-Two in the Shade marks McGuane's second foray onto the silver screen, following The Sporting Club, which was brought to life by Avco Embassy Pictures in 1971. With a screenplay penned by Lorenzo Semple, Jr., and direction by Larry Peerce, the film, unfortunately, failed to leave a favorable impression, receiving uniformly poor reviews.

Exploring the realm of screenwriting further, McGuane penned several other screenplays. Rancho Deluxe (United Artists, 1975), headlined by Jeff Bridges, Elizabeth Ashley, and Slim Pickens, made its debut in the spring of that year....