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"The last of an ancient order of Jewish mystics capable of extraplanar travel, The Merkabah Rider roams the demon haunted American West of 1879 in search of the renegade teacher who betrayed his enclave. But as the trail grows fresher, shadows gather, and The Hour Of The Incursion draws near... Four novella episodes in one book. In a town hungry for blood, the Rider encounters a cult of Molech worshippers bent on human sacrifice('The Blood Libel'). A murderous, possessed gunman descends upon a mountain town, and only the Rider stands in his way ('Hell's Hired Gun'). A powerful ju ju man with powers rivalling the Rider's own holds a fledgling Mexican boomtown in his sway ('The Dust Devils'). Finally the Rider faces the Queen of Demons and a bordello full of antedelluvian succubi ('The Nightjar Women')."--Amazon.com.
Famous for his masculine swagger and gritty roles, American cultural icon Clint Eastwood has virtually defined the archetype of the tough lawman. Beginning with his first on-screen appearance in the television series Rawhide (1959--1965) and solidified by his portrayal of the "Man with No Name" in Sergio Leone's "Dollars" trilogy (1964--1966), he rocketed to stardom and soon became one of the most recognizable actors in Hollywood. The Philosophy of Clint Eastwood examines the philosophy and psychology behind this versatile and controversial figure, exploring his roles as actor, musician, and director. Led by editors Richard T. McClelland and Brian B. Clayton, the contributors to this timely volume discuss a variety of topics. They explore Eastwood's arresting critique and revision of the traditional western in films such as Unforgiven (1992), as well as his attitudes toward violence and the associated concept of masculinity from the Dirty Harry movies (starting in 1971) to Gran Torino (2008). The essays also chart a shift in Eastwood's thinking about the value of so-called rugged individualism, an element of many of his early films, already questioned in Play Misty for Me (1971) and decisively rejected in Million Dollar Baby (2004). Clint Eastwood has proven to be a dynamic actor, a perceptive and daring director, as well as an intriguing public figure. Examining subjects such as the role of civil morality and community in his work, his use of themes of self-reliance and religious awareness, and his cinematic sensibility, The Philosophy of Clint Eastwood will provide readers with a deeper sense of Eastwood as an artist and illuminate the philosophical conflicts and resolutions that drive his films.
With over 10 million copies sold, bestselling author Robert James Waller returns with the haunting, evocative story of a small town, a beautiful and mysterious woman, and the man forever changed by both. The wild places are where no one is looking anymore. Out there on the high plains, among the Sioux reservations and the silent buttes, among the small towns dying and the people with them, you can hear the wind. And on the back of the wind is the sound of an old accordion—tangos—mingling with the lonely thump of a single drum in the nighttime and a far-off warrior’s cry. On the back of the wind is the smell of worn saddle leather and sawdust, of sandalwood, and smoke from ancient ceremonial fires. To this, to a town called Salamander, comes Carlisle McMillan, a traveler and master carpenter seeking a place of quiet amid the grinding roar of progress. Near Wolf Butte, a strange and apparently haunted monolith, he finds his quiet, or so he believes, and begins rebuilding a decrepit house as a tribute to the gruff old man who taught him a carpenter’s skills, rebuilding his life at the same time. He finds two very different, independent women: Gally Deveraux, who works at a diner in Salamander and longs for something more than she is, and Susanna Benteen, beautiful and enigmatic, who was drawn to Salamander for mysterious reasons of her own, a woman the town has labeled a witch. The women and his carpenter’s trade and an old Indian known as Flute Player bring Carlisle a sense of contentment for a while. But his quiet is shattered as bulldozer treads begin to turn and the Yerkes County War commences. Run or stand your ground, that is Carlisle’s dilemma, Gally on one side, Susanna on the other. Robert James Waller’s fully imagined characters become people we know and care for deeply. High Plains Tango is the hauntingly lyrical story of a small town in the middle of nowhere, a town that forever changed—and was forever changed by—one man.
Science fiction, fantasy, comics, romance, genre movies, games all drain into the Cultural Gutter, a website dedicated to thoughtful articles about disreputable art-media and genres that are a little embarrassing. Irredeemable. Worthy of Note, but rolling like errant pennies back into the gutter. The Cultural Gutter is dangerous because we have a philosophy. We try to balance enthusiasm with clear-eyed, honest engagement with the material and with our readers. This book expands on our mission with 10 articles each from science fiction/fantasy editor James Schellenberg, comics editor and publisher Carol Borden, romance editor Chris Szego, screen editor Ian Driscoll and founding editor and former games editor Jim Munroe.
“Fluent, mordant, authentic, propulsive…wonderfully lit from within” (Lee Child, The New York Times Book Review), this critically acclaimed, stunningly mature literary debut is the darkly comic story of a car thief on the run in the gritty and arid landscape of the 1970s Texas panhandle. In this “stellar debut,” (Publishers Weekly) car thief Troy Falconer returns home after years of wandering to reunite with his younger brother, Harlan. The two set out in search of Harlan’s wife, Bettie, who’s left him cold and run away with the little money he had. When stealing a station wagon for their journey, Troy and Harlan find they’ve accidentally kidnapped a Mennonite girl, Martha Zacharias, sleeping in the back of the car. But Martha turns out to be a stubborn survivor who refuses to be sent home, so together, these unlikely road companions haphazardly attempt to escape across the Mexican border, pursued by the police and Martha’s vengeful father. But this is only one layer of Troy’s story. Through interjecting entries from his journal that span decades of an unraveling life, we learn that Troy has become so estranged from society that he’s shunned the very idea of personal property. Instead of claiming possessions, he works motels, stealing the suitcases and cars of men roughly his size, living with their things until those things feel too much like his own, at which point he finds another motel and vanishes again into another man’s identity. Richly nuanced and complex, “like a nesting doll, [Presidio] continually uncovers stories within stories” (Ian Stansel, author of The Last Cowboys of San Geronimo). With a page-turning plot, prose as gritty and austere as the novel’s Texas panhandle setting, and a determined yet doomed cast of characters ranging from con artists to religious outcasts, this “rich and rare book” (Annie Proulx, author of Barkskins) packs a kick like a shot of whiskey. Perfect for fans of Cormac McCarthy, Denis Johnson, and Larry McMurtry, who said that Kennedy “captures the funny yet tragic relentlessness of survival in an unforgiving place. Let’s hope he keeps his novelistic cool and brings us much, much more.”
Publisher Description
While the western was a staple of cinema for many decades, the form began to fade as its greatest star, John Wayne, made fewer films of distinction toward the end of his career. In the mid-1960s, the genre was redefined by a handful of directors, including Don Siegel and Italian filmmaker Sergio Leone, who offered something edgier, bloodier, and more violent. Working with both directors was an actor who had made a name for himself on the small screen in the hit western Rawhide. While Clint Eastwood would also star in and direct a number of successes with contemporary settings, his work in westerns represents the most significant part of his film career. In The Clint Eastwood Westerns, James L. Neibaur takes a film-by-film look at each of the superstar’s signature works, from A Fistful of Dollars in 1964 to his modern-day classic Unforgiven, which earned him two Academy Awards, including best director. The author discusses in detail the production, impact, influences, and successes (both critical and commercial) of each film. In addition, Neibaur examines the continued success and influence of these works—how they redefined, challenged, and progressed the western genre. The book also features chapters that look at Eastwood’s other films in the context of his overall career. From the spaghetti westerns he made with Leone, including The Good, the Bad, and the Ugly,to his revisionist look at the Old West in Unforgiven, The Clint Eastwood Westerns shines a spotlight on some of the most thrilling films of the genre. For devotees of Eastwood—the actor or director—or simply fans of the western, this book is an entertaining look at one of Hollywood’s most enduring stars.
The Western town of roughly 1860-90 exists in an ephemeral moment of American history ... these towns vanished entirely from the prairie by the end of the nineteenth century. Yet even today, everyone has visited these towns, since they survive in their abstract and distilled form through the plot-generating sets of Western movies ... a clichéd but consistent host of characteristics and characters ... 22 towns in the Wild West are the protagonists in this book, including famous places like El Paso, Rio Bravo, and Lahood - not as clichés, but as constructed reality. Detailed maps offer a previously non-existent overview of spatial contexts and form the basis for an intensive exploration of architecture and urban planning. The culture of the "city without a future" in the American West between 1860 and 1900 has been maintained in the films out of which it arises. This architectural analysis does not attempt to nostalgically reactivate the Western town, but uses it instead as a vehicle to critique contemporary phenomena in terms of infrastructure, the link between architecture and city, and the role of urban planning - after the Stranger persuaded the residents of Lago to paint the whole town red, he declared himself ready to protect it from the approaching gunmen. With maps of the towns from the following films (selected): 'A Fistful of Dollars' (1964), 'Buchanan Rides Alone' (1958), 'For a Few Dollars More' (1965), 'Fort Apache' (1948).
A biography of a Hollywood legend peels back the mystery surrounding Clint Eastwood to reveal a rebel with a clear vision of human existence.