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'The Last Stetson' is an American-settlers era novel by John Fox Jr. It revolves around a man named Rome Stetson, who, we learn to be the last of his name. He and Jasper Lewallen, the last but one of his, put their guns down and fought with bare fists on a high ledge above old Gabe's mill one morning at daybreak. The man who was beaten was to leave the mountains; the other was to stay at home and have peace. Steve Marcum, a Stetson, heard the sworn terms and saw the fight. Jasper was fairly whipped; and when Rome let him up he proved treacherous and ran for his gun. Rome ran too, but stumbled and fell. Jasper whirled with his Winchester and was about to kill Rome where he lay, when a bullet came from somewhere and dropped him back to the ledge again. Both Steve Marcum and Rome Stetson said they had not fired the shot; neither would say who had. Some thought one man was lying, some thought the other was, and Jasper's death lay between the two. State troops came then, under the Governor's order, from the Blue Grass, and Rome had to drift down the river one night in old Gabe's canoe and on Out of the mountains for good. Martha Lewallen, who, though Jasper's sister, and the last of the name, loved and believed Rome, went with him. Marcums and Braytons who had taken sides in the fight hid in the bushes around Hazlan, or climbed over into Virginia. A railroad started up the Cumberland. "Furriners came in to buy wild lands and get out timber." Civilization began to press over the mountains and down on Hazlan, as it had pressed in on Breathitt, the seat of another feud, in another county. In Breathitt the feud was long past, and with good reason old Gabe thought that it was done in Hazlan.
Reproduction of the original.
A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.
Seventeen-year-old Stetson hasn't seen his mother in years and tries to keep a good distance from his alcoholic father, but when his father introduces him to a sister who recently appeared at their home, Stetson finds himself being concerned with his
"A can't-put-it-down modern Western." —Kirk Siegler, NPR Longlisted for the PEN/ESPN Award for Literary Sports Writing The Last Cowboys is Pulitzer Prize-winning reporter John Branch’s epic tale of one American family struggling to hold on to the fading vestiges of the Old West. For generations, the Wrights of southern Utah have raised cattle and world-champion saddle-bronc riders—many call them the most successful rodeo family in history. Now they find themselves fighting to save their land and livelihood as the West is transformed by urbanization, battered by drought, and rearranged by public-land disputes. Could rodeo, of all things, be the answer? Written with great lyricism and filled with vivid scenes of heartache and broken bones, The Last Cowboys is a powerful testament to the grit and integrity that fuel the American Dream.
"Fascinating and dramatically compelling, this eloquent play depicts the supposed meeting of two of the most important men of modern times: Malcolm X and Dr. Martin Luther King, Jr. Differing in their philosophies, but alike in their mutual respect, the two men debate their varying approaches to the same grave social problems, both prepared to die for their beliefs but neither aware of how soon their assassins' bullets await them"--Back cover.
When Tessa's big-city plans take the A Train to disaster, she lands in her sleepy hometown, smack in the middle of the most unlikely love triangle ever to hit Pennsylvania's Amish Country. Hot-shot Dr. Richard Bruce is bound to Green Ridge by loyalty that runs deep. Deeper still is Jonas Rishel's tie to the land and his family's Amish community. Behind the wheel of a 1979 camper van, Tessa idles at a fork in the road. Will she cruise the superhighway to the future? Or take a slow trot to the past and a mysterious society she never dreamed she'd glimpse from the inside?
The story of John Stetson and how he came to create the most popular hat west of the Mississippi.
“A dense and scholarly book about . . . the relationship between the Nazi party and the occult . . . reveals stranger-than-fiction truths on every page.”—Daily Telegraph The Nazi fascination with the occult is legendary, yet today it is often dismissed as Himmler’s personal obsession or wildly overstated for its novelty. Preposterous though it was, however, supernatural thinking was inextricable from the Nazi project. The regime enlisted astrology and the paranormal, paganism, Indo-Aryan mythology, witchcraft, miracle weapons, and the lost kingdom of Atlantis in reimagining German politics and society and recasting German science and religion. In this eye-opening history, Eric Kurlander reveals how the Third Reich’s relationship to the supernatural was far from straightforward. Even as popular occultism and superstition were intermittently rooted out, suppressed, and outlawed, the Nazis drew upon a wide variety of occult practices and esoteric sciences to gain power, shape propaganda and policy, and pursue their dreams of racial utopia and empire. “[Kurlander] shows how swiftly irrational ideas can take hold, even in an age before social media.”—The Washington Post “Deeply researched, convincingly authenticated, this extraordinary study of the magical and supernatural at the highest levels of Nazi Germany will astonish.”—The Spectator “A trustworthy [book] on an extraordinary subject.”—The Times “A fascinating look at a little-understood aspect of fascism.”—Kirkus Reviews “Kurlander provides a careful, clear-headed, and exhaustive examination of a subject so lurid that it has probably scared away some of the serious research it merits.”—National Review
This is a book of ghost stories, and for the most part, ghosts are jealous monsters, intent upon our destruction. They never appear overtly here, yet we gradually become aware of their presence the way spirits in haunted houses trod over creaky floors, slam doors, and issue sudden gusts of wind. The poems are Koan-like—the fewer the words, the more charged they are. The engine driving this sense of haunting and loss is money, which Davis describes as “federal bone” boiling around us. Bison in Nebraska are reduced to bones, “seven/standing men/tall” fodder for the fertilizer used by farmers in the 1800s. Though they often specify dates, there’s an equality to the hauntings—every instance has its moment, and persists, despite being in the past, present, or future. If there really was a 1980 or 1848 or 1499, Davis implies it is somewhere. Index of Haunted Houses is spooky and sad—a stunning debut, one that will surprise, convince, and most of all, delight.