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Weather and creaking joints permitting, Jim Hawkins could be found every weekend sitting in the rocker outside the Manix store, whittling and spitting. Jim said hardly anything. Ever. That's how Henry Lancaster felt. Sure, he'd hear his grandfather talk to his grandmother fairly often -- But Jim hardly said anything to anybody else. That all changed when he took Henry along on a scouting trip, and told his grandson how it was that winter of 1886 -- a really hard winter.
It would seem that the end of every war has been followed in the United States by social and moral changes, mostly for the worse. Zane Grey certainly felt that way about the effects of the Great War, and to show these changes and how to cope with them became the impulse behind what he called The Water Hole. However, before magazine publication, changes were made in his text, including the names of all the characters. Fortunately Grey's original handwritten manuscript has survived, so now this story can be told with his characters named and presented as he intended them to be. In 1925 widowed businessman Elijah Winters brings his daughter, Cherry, from Long Island to stay at a trading post in a remote area some distance from Flagstaff, Arizona. Removed from the country clubs and speakeasies, Cherry is at first bored with simple ranch life, and to entertain herself she flirts with several of the cowboys, not realizing they are very different from the young men she knew back east. Also very different is Stephen Heftral, a young archaeologist who is searching for an ancient and lost kiva of a primitive Indian tribe that disappeared centuries before in what became the land of the Navajos. Heftral believes that this lost kiva is most probably in a desert fastness called Beckyshibeta, the Navajo word for water hole. Elijah colludes with Heftral to awaken Cherry to a new and healthier way of life by taking her, by force if necessary, to the site. Cherry resents being kidnapped but comes to forget the luxury of her past in the beauty and dangers of the canyons—and in the thrill of making an important archaeological discovery.
After hitting a rich vein of gold on the back of Champion Mountain, Blondy Kitchin heads to the big city to have a good time, but there his luck runs out and he ends up spending two years in prison. The prison’s chaplain helps educate him, tries to smooth out his rough edges, and convinces him that the range is the place for Kitchin to make use of his brute strength and free spirit.
The Western is the quintessential American epic--a mythic story of nation building, triumphs, failures, and fantasies. This book accompanies the first major exhibition to examine the Western genre and its evolution from the mid-1800s in fine art, film, and popular culture, exploring gender roles, race relations, and gun violence--a story that is about more than cowboys and American Indians, pursuits and duels, or bandits and barroom brawls. From 19th-century landscape paintings by Albert Bierstadt and Frederic Remington to works by Andy Warhol, Ed Ruscha, and Kent Monkman; from the legends of "Buffalo Bill" Cody and Billy the Kid to John Ford's classic films and Sergio Leone's spaghetti Westerns and recent productions by Quentin Tarantino, Ang Lee, and Joel and Ethan Coen, The Western observes how the mythology of the West spread throughout the world and endures today.
Five Star Westerns are standard print, first editions from top Western writers. The majority are brand new manuscripts from the best contemporary writers; a few are serials from magazine publications of many years ago, and -- occasionally -- we find an unpublished manuscript from some of the classic Western writers of a bygone era.Five Star consistently brings you the best quality writing the genre has to offer. Five Star Western authors have won numerous awards including the National Cowboy Hall of Fame's Western Heritage Award, Levi Strauss' Golden Saddleman Award, the Spur Award from Western Writers of America and many regional awards as well.The Western genre is not dead! The Western story is the American story. There's a morality and a certain nobility in Westerns, not consistently found in other genres. Westerns are much more than guns and horses. Strong characters and a strong sense of place and time characterize all our Five Star Western titles.Five Star publishes the best Westerns available today by the top writers of both the present and past. All are published in our durable library edition hardcover format. Actual covers may be different from those shown.
The Western Story: A Chronological Treasury consists of twenty Western stories spanning the years 1892 to 1994. For that generation of American writers who saw the frontier in the last century?including Mark Twain, Bret Harte, and Owen Wister?it seemed exotic, strange, wonderful. Others, such as Frederic Remington and John G. Neihardt, reflected the clash between various Indian nations and pioneers. These authors prepared the way for the founders of the first Golden Age of the Western story: Willa Cather, who wrote of pioneer life in Nebraska; Zane Grey, who combined wilderness experiences with romance and the search for spiritual truth; B. M. Bower, who portrayed the cowboys and frontier women she knew growing up in Montana; Max Brand, who created dramas in which the psychological and spiritual meaning of life was more important than the physical terrain; and Ernest Haycox, who combined character and drama with historical accuracy. ø Another generation of writers perpetuated this first Golden Age: Peter Dawson and T. T. Flynn, who began writing Western stories in the 1930s; Walter Van Tilburg Clark, who created a masterpiece in The Ox-Bow Incident; Dorothy M. Johnson and Les Savage Jr., who experimented with making the Western story still more realistic; and Louis L?Amour, whose visibility and popularity won legions of new readers to the genre. ø Humanity, depth, and verisimilitude were already part of the Western story when Will Henry, Elmer Kelton, and T. V. Olsen came on the scene to intensify these qualities in their own stories even as they experimented with new perspectives. And Cynthia Haseloff?s story (written especially for this collection), with its symbolism and its simplicity, may be the harbinger of a second Golden Age.
The Poacher’s Daughter is an extraordinary story of betrayal and redemption, set within an uncompromising landscape of raw brutality and unimaginable beauty. It is a novel you won’t soon forget. In 1885 young Rose Edwards is widowed by Montana vigilantes who hang her husband for an alleged theft, then burn her Yellowstone Valley cabin to the ground as a warning for her and others of her kind to quit the territory. Penniless and illiterate, yet fiercely independent, Rose begins a two-year odyssey to revisit the land of her childhood, a land she once traveled with her father, an itinerant robe trader among the Assiniboines and Blackfeet. But the old ways of the hunter and trapper are disappearing as Europeans flood the ranges with vast herds of cattle. With an aging roan gelding named Albert as her closest friend, Rose becomes a reluctant hero of an indigenous population, both native and white, as she stubbornly pushes back against the invading aristocracy.
Winner of the National Book Award • Washington Post Best Book of the Year • A New York Times Notable Book From one of the most revered novelists of our time, an exquisitely told story of a boy on the cusp of manhood who seeks justice and understanding in the wake of a terrible crime that upends and forever transforms his family. One Sunday in the spring of 1988, a woman living on a reservation in North Dakota is attacked. The details of the crime are slow to surface because Geraldine Coutts is traumatized and reluctant to relive or reveal what happened, either to the police or to her husband, Bazil, and thirteen-year-old son, Joe. In one day, Joe's life is irrevocably transformed. He tries to heal his mother, but she will not leave her bed and slips into an abyss of solitude. Increasingly alone, Joe finds himself thrust prematurely into an adult world for which he is ill prepared. While his father, a tribal judge, endeavors to wrest justice from a situation that defies his efforts, Joe becomes frustrated with the official investigation and sets out with his trusted friends, Cappy, Zack, and Angus, to get some answers of his own. Their quest takes them first to the Round House, a sacred space and place of worship for the Ojibwe. And this is only the beginning. The Round House is a page-turning masterpiece—at once a powerful coming-of-age story, a mystery, and a tender, moving novel of family, history, and culture.
FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE PEN/FAULKNER AWARD WINNER OF THE WHITING AWARD WINNER OF THE SAROYAN INTERNATIONAL PRIZE FOR WRITING WINNTER OF THE VCU CABELL FIRST NOVELIST AWARD WINNER OF THE NEW AMERICAN VOICES AWARD A PUBLISHERS WEEKLY TOP 10 BOOK OF THE YEAR The first novel by the Pulitzer Prize–winning author of Trust, an exquisite and blisteringly intelligent story of a young Swedish boy, separated from his brother, who becomes a legend and an outlaw A young Swedish immigrant finds himself penniless and alone in California. The boy travels east in search of his brother, moving on foot against the great current of emigrants pushing west. Driven back again and again, he meets criminals, naturalists, religious fanatics, swindlers, American Indians, and lawmen, and his exploits turn him into a legend. Diaz defies the conventions of historical fiction and genre, offering a probing look at the stereotypes that populate our past and a portrait of radical foreignness.
What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West?Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. Taking a number of critical-theoretical and philosophical approaches, Matthew Carter applies them to prominent forms of frontier historiography. He also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Carter skilfully argues that the genre has - and continues to reveal - the complexities and contradictions at the heart of US society. With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, this book adds new depth to our understanding of specific film texts and of the genre as a whole - a welcome resource for students and scholars in both Film Studies and American Studies.