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Sometimes fate rides a man down a violent road… Jake Horn was a healer—until he was falsely accused of murder and had to run. Now the hands he once used to cure the ailing have a new purpose: wrapped around the handles of twin six-guns. A GOOD MAN IN A BAD TOWN Aptly named, the town of Sweet Sorrow, within the Dakota territories, is the kind of place that draws all manner of mis­fits, drunks, gamblers, and dreamers—a perfect town for Jake Horn to get lost in. But a strange plague of madness, brutality, and murder seems to run rampant here—and a slippery Texan named Roy Bean is pressuring Jake to bring a much-needed sanity to the lawless outpost. But accepting the job of Marshal could be the last humani­tarian act Jake ever performs. Because thunder is rumbling on the horizon—and a famous bounty hunter from Bismarck is rolling in on the evening stage, determined to collect the substantial reward being offered for bringing the fugitive Jake Horn in stone-cold dead.
THE DAY OF JUSTICE IS AT HAND A talented healer forced to become a fugitive for a killing he wasn't responsible for, Jake Horn found sanctuary in the rough Dakota town of Sweet Sorrow—and in the tin badge that marks him as the local law. Now his discovery of a dead ranch hand is bringing his demons home. As a doctor and a sheriff, Jake's witnessed death in all its dark guises—and he recognizes a murder when he sees one. But asking too many questions of the wrong people is asking for trouble, and suddenly expert killers are gathering with their sights on a lawman who's got a need to see justice done. The big gundown is coming, as relentlessly as the winter snow whipping across the prairie. And there's nowhere for a good man to hide when five shooters blinded by hate won't leave Sweet Sorrow until he's dead.
Jake Horn was a healer -- until he was falsely accused of murder and had to run. Now the hands he once used to cure the ailing have a new purpose: wrapped around the handles of twin six-guns. A good man in a bad town Aptly named, the town of Sweet Sorrow, within the Dakota territories, is the kind of place that draws all manner of misfits, drunks, gamblers, and dreamers -- a perfect town for Jake Horn to get lost in. But a strange plague of madness, brutality, and murder seems to run rampant here -- and a slippery Texan named Roy Bean is pressuring Jake to bring a much-needed sanity to the lawless outpost. But accepting the job of Marshal could be the last humanitarian act Jake ever performs. Because thunder is rumbling on the horizon -- and a famous bounty hunter from Bismarck is rolling in on the evening stage, determined to collect the substantial reward being offered for bringing the fugitive Jake Horn in stone-cold dead.
HARD JUSTICE CAN TURN A YOUNG MAN INTO A DEAD MAN HELLDOGS — Spitting fire and kicking up dust, the Comancheros ride like they're coming out of hell itself. At the head of the thieving, killing pack is scar-faced Rufus Buck, a man who gives no quarter—and takes the life of anyone who gets in his way. HERO — Gambler and gunfighter, lawman and friend to presidents and kings, Augustus Monroe is a hero with awesome courage and shooting skills. In the legends he's inspired, he stands for justice. In real life, can he match those legends? HARD RIDERS — Ivory Cade's a young man with no kin and the whole world spread out in front of him. Albert Sand is the son of a lawman brought down by Rufus Buck. With only an aging Indian and a drunken preacher on their side, Cade and Sand rode out from the Texas Panhandle to the Kansas plains in pursuit of vengeance, the mythical Augustus Monroe and... BILL BROOKS "HAS A KNACK FOR STORYTELLING." —Library Journal
He didn't need a star on his chest when he had bullets in his gun. It was called No Man's Land, a notorious stretch of hell on the eastern end of the Oklahoma Territory. This was Indian country, and it was where Caddo Pierce and his gang of Indian outlaws had chosen to roam. Pierce knew the law—federal lawmen could not arrest Indians unless they committed crimes against whites—and he took advantage of it. Cutting a swath of murder and rape through Oklahoma, Caddo knew he could not be pursued by federal marshals or Texas Rangers. The only thing he hadn't counted on—Quint McCannon. McCannon has reached a dark point in his life. Troubled by the loss of his wife and son, his failure as a cattle rancher, and the endless bitter trail he seems to be riding, Quint is looking for a way out. He sees that exit when a judge informs him that a chief of the Indian Police has asked for help in stopping these killers, assistance that cannot be officially supported by the law. McCannon knows it is a suicide mission—one man without a star against a cadre of murderers—but he can't refuse the call for help. Either he will bring back Caddo Pierce or his days of pain will be over.
Quint McCannon would ride a thousand miles to find a woman—and the man who wanted her dead... MEN WENT CRAZY Quint McCannon had fought and survived the Civil War—and faced killers and madmen across the frontier. But nothing had prepared him for one brutal winter in Cheyenne. Or for a story told by a Texas Ranger: about a woman McCannon had once loved—who was now running for her life. With nothing left to keep him in Wyoming, with a Texas Ranger and a one-armed Denver dandy by his side, McCannon is riding out of Cheyenne, crossing Bill Cody's Nebraska, the Earp brothers' Dodge City, Bill Hickok's Kansas. But a thousand miles of dancing prairie grass, howling thunderstorms, whores, renegades, and murderers lie before him. For Quint McCannon, finding a woman on the run means going up against the ghosts of his own past and a bloodlusting killer—all the way to the Rio Grande.
THE EPIC LIFE OF PRETTY BOY FLOYD Charles Pretty Boy Floyd became the FBI's most wanted man in America. A depression era young man out of the Oklahoma Hill country decided he no longer wanted to work as a field hand and common laborer. Everywhere in the Dirty 30s, men, and in one case, women (Bonnie Parker) had decided to use a gun to get what they wanted, and so did Charley. His first real job was that of robbing the Kroger Company Payroll Office where one of the women there described him as being "Just a mere boy—a pretty boy." The name stuck and from then on that is what the newspapers called him. His good looks didn't hurt with the ladies either and he ended up with both a wife and girlfriend clear up to the time of his death. FBI Director J. Edgar Hoover had a personal vendetta against what he considered the scourge of the land and set his main Agent, Melvin Purvis to take down the most notorious of them, beginning with Johnny Dillinger who was ambushed outside the Biograph Theater in Chicago, thus moving Pretty Boy to the top of the list.
A LEGENDARY GUNMAN IS MAKING HIS LAST STAND IN JAKE HORN'S TOWN . . . AND HE’S NOT AIMING TO DIE ALONE. Jake Horn once used his hands to heal—now the same hands kill. He was on the dodge for a crime he didn't commit when the town of Sweet Sorrow took him in and rewarded him with a badge he never wanted. Still, this out-of-the-way Dakota hellhole is a good place for a man to get lost in—until legendary gunfighter William Sunday rides up with a price on his head, followed by a parade of bounty hunters, criminals, and cold-blooded killers. A feared gun artist with a murderous rep, suffering from an illness he knows will soon claim his life, Sunday is determined to reconcile with his daughter before his own body does him in. Meanwhile, every human reptile in the territories is closing in for the kill, leaving lawman Jake no choice but a suicidal duty: to stand side-by-side with a dead man who has nothing left to lose.
 In American Westerns, the main characters are most often gunfighters, lawmen, ranchers and dancehall girls. Civil professionals such as doctors, engineers and journalists have been given far less representation, usually appearing as background characters in most films and fiction. In Westerns about the 1910 Mexican Revolution, however, civil professionals also feature prominently in the narrative, often as members of the intelligentsia--an important force in Mexican politics. This book compares the roles of civil professionals in most American Westerns to those in films on the 1910 Mexican Revolution. Included are studies on the Santiago Toole novels by Richard Wheeler, Strange Lady in Town with Greer Garson and La sombra del Caudillo by Martin Luis Guzman.