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Before his most fabulous adventure (celebrated by John G. Neihardt in The Song of Hugh Glass and by Frederick Manfred in Lord Grizzly), Hugh Glass was captured by the buccaneer Jean Lafitte and turned pirate himself until his first chance to escape. Soon he fell prisoner to the Pawnees and lived for four years as one of them before he managed to make his way to St. Louis. Next he joined a group of trappers to open up the fur-rich, Indian-held territory of the Upper Missouri River. Then unfolds the legend of a man who survived under impossible conditions: robbed and left to die by his comrades, he struggled alone, unarmed, and almost mortally wounded through two thousand miles of wilderness.
Epic poem about mountain men explorers in the American West
A Cycle of the West rewards its readers with a sweeping saga of the American West and John G. Neihardt's exhilarating vision of frontier history. It is infused with wonder, nostalgia, and a keen appreciation of epic history. Unquestionably the masterpiece of the poet who has been called the "American Homer," A Cycle of the West celebrates the land and legends of the Old West in five narrative poems: The Song of Three Friends (1919), The Song of Hugh Glass (1915), The Song of Jed Smith (1941), The Song of the Indian Wars (1925), and The Song of the Messiah (1935). This unforgettable epic of discovery, conquest, courage, and tragedy speaks movingly and resoundingly of a unique American experience.
In the summer of 1823, a grizzly bear mauled Hugh Glass. The animal ripped the trapper up, carving huge hunks from his body. Glass's fellows rushed to his aid and slew the bear, but Glass's injuries mocked their first aid. The expedition leader arranged for his funeral: two men would stay behind to bury the corpse when it finally stopped gurgling; the rest would move on. Alone in Indian country, the caretakers quickly lost their nerve. They fled, taking Glass's gun, knife, and ammunition with them. But Glass wouldn't die. He began crawling toward Fort Kiowa, hundreds of miles to the east, and as his speed picked up, so did his ire. The bastards who took his gear and left him to rot were going to pay. Here Lies Hugh Glass springs from this legend. The acclaimed historian Jon T. Coleman delves into the accounts left by Glass's contemporaries and the mythologizers who used his story to advance their literary and filmmaking careers. A spectacle of grit in the face of overwhelming odds, Glass sold copy and tickets. But he did much more. Through him, the grievances and frustrations of hired hunters in the early American West and the natural world they traversed and explored bled into the narrative of the nation. A marginal player who nonetheless sheds light on the terrifying drama of life on the frontier, Glass endures as a consummate survivor and a complex example of American manhood. Here Lies Hugh Glass, a vivid, often humorous portrait of a young nation and its growing pains, is a Western history like no other.
This epic narrative poem focuses on the days after the end of the Civil War through the fall of 1877, describing the leaders and events of the Indian Wars, including Red Cloud, Sitting Bull, Crazy Horse, Dull Knife, Spotted Tail, the Fetterman Massacre, the Wagon Box Incident, and the the Battle of Little Big Horn. See: Holsinger, Indian Wars West of the Mississippi, pp. 174-175.
Internationally known for Black Elk Speaks and A Cycle of the West, John G. Neihardt (1881–1973) wrote in almost all major genres: fiction, lyric and epic poetry, biography, autobiography, travelogue, literary criticism, and the familiar essay. The Giving Earth includes nearly forty selections representing every phase of Neihardt’s art, from the passionate poetry of his youth to the masterworks of his maturity to the lapidary reflections of his old age. In her introduction, Hilda Neihardt, who was with her father when he interviewed Black Elk at Pine Ridge, provides many personal details surrounding the publication of his works. She also introduces each section. Included among the early lyrics are "Let Me Live Out My Years." The short stories that brought him his first fame are represented by "Dreams Are Wiser Than Men" and the memorably horrific "Alien." An excerpt from The River and I documents a trip down the Missouri as atmospheric and eventful as any described by Mark Twain. A Cycle of the West, the five-volume masterwork written over nearly thirty years, receives its due with chapters from The Song of Three Friends, The Song of Hugh Glass, The Song of Jed Smith, The Song of the Indian Wars, and The Song of the Messiah. The extent of Neihardt's achievement is apparent long before the reader comes to the selections from the classic Black Elk Speaks and the fine, late novel When the Trees Flowered. Concluding the anthology are selections from the literary criticism that helped form his philosophy of literature and the autobiographical writing of his twilight years. The Giving Earth is the gift of a writer's generous spirit and unlimited imagination.
The Long Rifle is a uniquely American story. It is a timeless coming-of-age story set in the wild Rocky Mountains during the early fur trade era. The Long Rifle recalls a time of endlessly expanding horizons, of extraordinary possibilities, of being one with the natural world, and of refreshing innocence. The Long Rifle has a marvelous spirit that we have almost forgotten, filled with wonder at creation. This book satisfied tens of thousands of readers almost one century ago when it was first published. White's tale of young Andy Burnett, carrying Daniel Boone's own long rifle, is as powerful today as it was when it was written in the 1930s. Our storyteller does not so much write the tale as he does launch onto its primal energies and roar downstream with the current. Yes, it is old-fashioned. It is heroic, sentimental, and romantic. It is touched with magnificence. It is imbued with the innocence and optimism that young people, about to venture into unknown worlds, want to believe in. Fleeing his step-father, young Andy Burnett heads for the wild, untamed Rocky Mountains where adventure waits. His shoulder bears the long rifle of Daniel Boone, the very one carried by the legendary man on his first trip to Kentucky. Our author beats the drums of the American myth. Burnet goes through the rituals of his first buffalo hunt, his first experience with love, a hair-breadth Indian fight-all test his character. He learns what it means to be a partner. He is intoxicated by seeing new country. He has shining times and starving times, and he loves them all. Burnett changes from a youth to a man, and all that means. Then, much too soon, he feels it all slipping away, the grand adventure coming to its inevitable end. In this way, The Long Rifle is less a novel than a sacrament. It is a campfire tale as old as the first humans. It reminds us of who we are, as campfire tales always do. This primal story has been told countless times on screen and in books. It is part of the American experience. The world of the book is fresh and unspoiled, filled with the crazy joy of going somewhere just to go and see it, to feel the earth and drink its water. Our forefathers felt this urge and were privileged to act on it. This book is now a child out of time. In fact, it was so when it was published in 1932. It is safe to assume that the publisher feared for this literary remnant of a more optimistic time. That fear never came true. Americans love certain stories of affirmation, and the public took 'The Long Rifle' into its heart. By the time of his death, White had written nearly sixty books. He was an active man, an avid outdoorsman, and a friend of Teddy Roosevelt's. Daniel Boone, a celebrated pioneer, is the central character in the beginning of the The Long Rifle-the mysterious stranger who wins a shooting competition with a new kind of gun. It is a book with a leisurely pace, and in this way, also a book from another time. Andy Burnet is a hero. He loves the West-it's grassy plains, its high mountains, its trappers' holes with quicksilver streams. Its abundant wildlife. Sometimes he seems to be in mystical accord with it. Unique among white people in the book, he is deeply sympathetic to the Indians. Though the Blackfeet are hated equally by other Indians and all whites, Andy makes a blood brother among them, and treats the Blackfeet like his own family. His love for his red comrades underlies the novel's tragedy. "I love the mountain man. The cowboy is a figure from realism, the mountain man from romance. In one of the most delicious scenes of all trapper tales, Vardis Fisher's Sam rides down a ridge on a thunderstorm bellowing Beethoven back at the gods. No cowboy ever did that-at least not in a book." --Win Blevins, General Editor
Daniel Karlin has selected poetry written and published during the reign of Queen Victoria, (1837-1901). Giving pride of place to Tennyson, Robert Browning, and Christina Rossetti, the volume offers generous selections from other major poets such asArnold, Emily Bronte, Hardy and Hopkins, and makes room for several poem-sequences in their entirety. It is wonderful, too, in its discovery and inclusion of eccentric, dissenting, un-Victorian voices, poets who squarely refuse to 'represent' their period. It also includes the work of Elizabeth Barrett Browning, George Meredith, James Thomson and Augusta Webster.