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London edition (John Lane) with sloght changes in text and the omission of the last chapter, has title: On the trail; my reminiscences as a cowboy.
To throw light on the motives & movements of a conspicuous literary figure of the last generation, two friends of Harris's from Chicago, Dr. Tobin, his 'authorized' biographer, & Mr. Gertz, an attorney who was Harris's agent in the latter years of his life have undertaken to sift the truth about Harris & to present a portrait of him that will reconcile the most shocking incongruities of his character with some of the fine performances of his pen. "Messrs. Tobin & Gertz have done a very good life of him. With great skill, they disentangle the facts from the cobwebs of fancy that he spun. They tell his story simply, clearly & honestly."--AMERICAN MERCURY. Illus.
Over 450 entries provide information on cowboy history, culture, and myth of both North and South America.
Why do the earliest representations of cowboy-figures symbolizing the highest ideals of manhood in American culture exclude male-female desire while promoting homosocial and homoerotic bonds? Evidence from the best-known Western writers and artists of the post-Civil War period - Owen Wister, Mark Twain, Frederic Remington, George Catlin - as well as now-forgotten writers, illustrators, and photographers, suggest that in the period before the word 'homosexual' and its synonyms were invented, same-sex intimacy and erotic admiration were key aspects of a masculine code. These males-only clubs of journalists, cowboys, miners, Indian vaqueros defined themselves by excluding femininity and the cloying ills of domesticity, while embracing what Roosevelt called 'strenuous living' with other bachelors in the relative 'purity' of wilderness conditions. Queer Cowboys recovers this forgotten culture of exclusively masculine, sometimes erotic, and often intimate camaraderie in fiction, photographs, illustrations, song lyrics, historical ephemera, and theatrical performances.
Cowper is too often read as an escapist poet, whose requirement constitutes an attitude of political retreat and disengagement. This book covers the highly politicised context of retirement as a mode of political opposition in the 18th century and shows the extent to which one poet drew from, and contrinuted to, this radical tradition.