New Westerners - McGuane's short story

Most of Tom McGuane's recent New Yorker stories have focused on the Montana newly prosperous (if not quite rich) - people like the realtors in and around Missoula (I assume that's the small city he's writing about) who are making some money thanks to the influx of Hollywood and other California millions. It's an aspiring professional class, still a bit rough around the edges, that, until McGuane (and maybe his friend Richard Ford) most readers did not associate w/ Montana - in other words, he's breaking from the Western cowboy ranch-hand miner stereotype, much more than, say Annie Proulx ever did or cared to (she took the stereotype and pushed it in new and surprising directions - and then moved on). Story in current New Yorker, Weight Watchers, is a bit different, as the narrator is a bit of a throwback, a well-educated guy who came to Montana in search of the frontier life and open space  (or so it seems) and has settled in and now does pretty well as a contractor with a small crew, mostly putting up new houses for wealthy Montanans (e.g., the local plastic surgeon), that is, the ones who serve the influx but not the influx themselves; in other words, he's sort of downward aspiring, in contrast to his father who came from poverty and built up a successful business, but never matured as a father or husband. Story begins with the father exiled to Montana by the wife who's had enough of him; father cats around, checking out strip clubs and in his jovial businessman way befriending neighbors. The son loves the dad, but is exasperated by him. In the end, the dad goes back home to his wife (in Chicago?), son goes on with his diminished life: on the one hand he's a good guy well respected in the community, helping a poor couple that can barely afford the construction costs; on the other, he notes that he cannot abide a relationship of more than one night, that he will never marry - so who is he and why is he so lonely and isolate? We know he had a difficult childhood - though not an abused one - so it's not clear exactly why he is the way he is - he's a laconic narrator and not too revealing. It's also a rare story in which the protagonist does not change at all (though maybe his father does, at least for the moment) - more of a sketch, a portrait, and a very good one, but not a story with a crisis, an arc, or a single dominant image or mood.