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The scion of one of the West's great outlaws comes home from the war in Iraq--Gilman James, the last of three childhood friends to return.His brothers-in-arms are mere shadows of their former selves--Gil, unmarked--determines to take care of them. But how far should a man go for the people he loves?Stepping across the line between right and wrong, Gil finds himself stranded in the Texan desert-as a bank heist he's planned goes horribly wrong. Pursued into the badlands by US Marshal John Whicher, Gil crosses paths with Tennille Labrea; an outlander, with her own demons to fight. Shielding a secret too precious to share with anyone, she's ready to cross her own line in the sand.What makes an outlaw? Marshal John Whicher, veteran of the First Gulf War thinks he knows. But can natural justice ever outrank the law? For three very different people a moment of reckoning is set in train: violent, defining; inescapable.
This book explores in depth the origins, development, and prospects of outlawry and of the relationship of outlaws to the social conditions of changing times. Throughout American history you will find larger-than-life brigands in every period and every region. Often, because we hunger for simple justice, we romanticize them to the point of being unable to separate fact from fiction. Frank Richard Prassel brings this home in a thorough and fascinating examination of the concept of outlawry from Robin Hood, Dick Turpin, and Blackbeard through Jean Lafitte, Pancho Villa, and Billy the Kid to more modern personalities such as John Dillinger, Claude Dallas, and D. B. Cooper. A separate chapter on molls, plus equal treatment in the histories of gangs, traces women's involvement in outlaw activities. Prassel covers the folklore as well as the facts, even including an appendix of ballads by and about outlaws. He makes clear how this motley group of bandits, pirates, highwaymen, desperadoes, rebels, hoodlums, renegades, gangsters, and fugitives—who stand tall in myth—wither in the light of truth, but flourish in the movies. As he tells the stories, there is little to confirm that Jesse and Frank James, Butch Cassidy and the Sundance Kid, the Daltons, Pretty Boy Floyd, Ma Barker, Clyde Barrow and Bonnie Parker, Belle Starr, the Apache Kid, or any of the so-called good badmen, did anything that did not enrich or otherwise benefit themselves. But there is plenty of evidence, in the form of slain victims and ruined lives, to show how many ways they caused harm. The Great American Outlaw is as much an excellent survey on the phenomenon as it is a brilliant exposition of the larger than-life figures who created it. Above all, it is a tribute to that aspect of humanity that Americans admire most and that Prassel describes as a willingness "to fight, however hopelessly, against exhibitions of privilege."
The Discovery Channel star offers an honest reflection on the highs and lows of his life, from his troubled youth to his failed marriages, and discusses his struggle to overcome his own personal demons and make peace with his past.
Bill Doolin was perhaps the last great American outlaw of the nineteenth century. Once part of the Doolin-Dalton gang, he rode and robbed in the wild Indian Territory that would become Oklahoma. The Daltons were eventually shot to ribbons in their failed attempt to rob two banks at once in Coffeyville, Kansas. But Doolin went on to form a new gang that included notables such as Bitter Creek Newcomb, Black Face Charlie Pierce, a remaining Dalton brother, and the Rose of the Cimarron, Rose Dunn, sister of the notorious Dunn Brothers. Pursuing the gang was a tenacious group of U.S. marshals led by the famed Bill Tilghman. Doolin was considered something of a Robin Hood to the locals—everybody but those he robbed and killed. The marshals were determined to end his reign of terror no matter how long it took. The country, after all, was heading into a new century, and outlaws like Doolin no longer had a place in the West.
With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw that Lead Belly represented to an urban bourgeoisie audience, the good outlaw that Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw that Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both performer and society that reflects the times in which they played their outlaw roles.
Susan Spano, America’s original Frugal Traveler, explores some of the most romantic, most exotic, and wildest corners of the world in this captivating collection of her best-loved pieces. French Ghosts, Russian Nights, and American Outlaws: Souvenirs of a Professional Vagabond takes the reader on magical trips, when everything conspired to make a place unforgettable, like a temple in Java at sunrise or an ice hotel in the Artic Circle at sunset. In some of the stories, she finds the kind of enlightenment that only travel can provide by following in the footsteps of luminaries such as Federico Fellini, Julia Child, and Chairman Mao. Other stories are about travel itself: how it became Spano's passion and calling; how it fed her incurably restless spirit; how it inspired her philosophy of travel and life: Go forth and find meaning. Take a condemned cable car over the Yangtze River or a shared taxi over the Andes with a leaking gas tank and chain-smoking driver. Eat oysters and drink martinis wherever you can. And, as often as possible, come home with a tan.
"For a century Butch Cassidy has been the subject of legends about his life and death, spawning a small industry of mythmakers and a major Hollywood film. Charles Leerhsen sorts out fact from fiction to find the real Butch Cassidy, who is far more complicated and fascinating than legend has it"--
A fascinating exploration of the relationship between American culture and music as defined by musicians, scholars, and critics from around the world. Music has been the cornerstone of popular culture in the United States since the beginning of our nation's history. From early immigrants sharing the sounds of their native lands to contemporary artists performing benefit concerts for social causes, our country's musical expressions reflect where we, as a people, have been, as well as our hope for the future. This four-volume encyclopedia examines music's influence on contemporary American life, tracing historical connections over time. Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture demonstrates the symbiotic relationship between this art form and our society. Entries include singers, composers, lyricists, songs, musical genres, places, instruments, technologies, music in films, music in political realms, and music shows on television.
From the infamous pirate Jean Laffite and the storied couple Bonnie and Clyde, to less familiar bandits like train-robber Eugene Bunch and suspected murderer Leather Britches Smith, Legendary Louisiana Outlaws explores Louisiana's most fascinating fugitives. In this entertaining volume, Keagan LeJeune draws from historical accounts and current folklore to examine the specific moments and legal climate that spawned these memorable characters. He shows how Laffite embodied Louisiana's shift from an entrenched French and Spanish legal system to an American one, and relates how the notorious groups like the West and Kimbrell Clan served as community leaders and law officers but covertly preyed on Louisiana's Neutral Strip residents until citizens took the law into their own hands. Likewise, the bootlegging Dunn brothers in Vinton, he explains, demonstrate folk justice's distinction between an acceptable criminal act (operating an illegal moonshine still) and an unacceptable one (cold-blooded murder). Recounting each outlaw's life, LeJeune also considers their motives for breaking the law as well as their attempts at evading capture. Running from authorities and trying to escape imprisonment or even death, these men and women often relied on the support of ordinary citizens, sympathetic in the face of oppressive and unfair laws. Through the lens of folk life, LeJeune's engaging narrative demonstrates how a justice system functions and changes and highlights Louisiana's particular challenges in adapting a system of law and order to work for everyone.