Cinematic narrative style and why Coover blurbed McGuane's debut novel

In yesterday's post I surmised that the antagonist and genuinely destructive, vengeful character, Stanton, was the one who dynamited the dam causing a dangerous flood and depletion of a lake at the hunting-fishing lodge in Thomas McGuane's The Sproting Club (1968), this based on the observations of the central character, Quinn, caught in the flood and nearly drowned, who'd heard Stanton singing as he went under. I knew, though, that this made little sense, as the obvious one to dynamite sites at the camp was Olive, the property manager, part of the trashy country folks who over the generations had been abused and displaced by the wealthy club members. So we don't know exactly who did the damage, although all the club owners believe it's Olive (the damage continues, as Olive or someone destroys the camp lodge) and they form a vigilante squad to protect the property and to bring justice to Olive and his backers. What's striking here is how these club members believe they have every right to "frontier justice," taking the law into their own hands and attacking and maybe killing Olive and his followers. These are men of white privilege, business and academic leaders of greater Detroit who have owned shares of the camp for generations and have accumulated wooded acreage by who knows how many crooked ways and means - to this novel is building into a class war, a cataclysmic end-of-days fight between the haves and have-nots. Whom would you bet on? Olive and his crew are tougher, meaner, probably better fighters; the camp owners are better armed and better educated and far better connected, if that matters. We can see from this debut novel that McGuane has a cinematic style - building toward a tumultuous, violent resolution - although I don't think this among his novels was ever made into a film and I can see why - the characters, esp the women, are just barely sketched in; I can also see why a young Robert Coover gave this novel a generous advance quote: Something about the narrative build-up toward a conflagration and the clash of social classes reminds me of Coover's own great debut novel, The Origin of the Brunists.