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This landmark collection, brimming with his signature wit and incomparable sensibility, is Larry McMurtry’s classic tribute to his home and his people. Before embarking on what would become one of the most prominent writing careers in American literature, spanning decades and indelibly shaping the nation’s perception of the West, Larry McMurtry knew what it meant to come from Texas. Originally published in 1968, In a Narrow Grave is the Pulitzer Prize–winning author’s homage to the past and present of the Lone Star State, where he grew up a precociously observant hand on his father’s ranch. From literature to rodeos, small-town folk to big city intellectuals, McMurtry explores all the singular elements that define his land and community, revealing the surprising and particular challenges in the “dying . . . rural, pastoral way of life.” “The gold standard for understanding Houston’s brash rootlessness and civic insecurities” (Douglas Brinkley, New York Times Book Review), In a Narrow Grave offers a timeless portrait of the vividly human, complex, full-blooded Texan.
Writing with characteristic grace and wit, Larry McMurtry tackles the full spectrum of his favorite themes -- from sex, literature, and cowboys to rodeos, small-town folk, and big-city slickers. First published in 1968, In a Narrow Grave is the classic statement of what it means to come from Texas. In these essays, McMurtry opens a window into the past and present of America's largest state. In his own words: "Before I was out of high school, I realized I was witnessing the dying of a way of life -- the rural, pastoral way of life. In the Southwest the best energies were no longer to be found on the homeplace, or in the small towns; the cities required these energies and the cities bought them...." "I recognized, too, that the no-longer-open but still spacious range on which my ranching family had made its livelihood...would not produce a livelihood for me or for my siblings and their kind....The myth of the cowboy grew purer every year because there were so few actual cowboys left to contradict it...." "I had actually been living in cities for fourteen years when I pulled together these essays; intellectually I had been a city boy, but imaginatively, I was still trudging up the dusty path that led out of the country...."
In a lucid, brilliant work of nonfiction, Larry McMurtry has written a family portrait that also serves as a larger portrait of Texas itself, as it was and as it has become. Using an essay by the German literary critic Walter Benjamin that he first read in Archer City's Dairy Queen, McMurtry examines the small town way of life that big oil and big ranching have nearly destroyed. He praises the virtues of everything from a lime Dr. Pepper to the lost art of oral storytelling, and describes the brutal effect of the sheer vastness and emptiness of the Texas landscape on Texans, the decline of the cowboy, and the reality and the myth of the frontier.​ McMurtry writes frankly and with deep feeling about his own experiences as a writer, a parent, and a heart patient, and he deftly lays bare the raw material that helped shape his life's work: the creation of a vast, ambitious, fictional panorama of Texas in the past and the present. Throughout, McMurtry leaves his readers with constant reminders of his all-encompassing, boundless love of literature and books.
As he crisscrosses America—driving in search of the present, the past, and himself—Larry McMurtry shares his fascination with this nation's great trails and the culture that has developed around them. Ever since he was a boy growing up in Texas only a mile from Highway 281, Larry McMurtry has felt the pull of the road. His town was thoroughly landlocked, making the highway his "river, its hidden reaches a mystery and an enticement. I began my life beside it and I want to drift down the entire length of it before I end this book." In Roads, McMurtry embarks on a cross-country trip where his route is also his destination. As he drives, McMurtry reminisces about the places he's seen, the people he's met, and the books he's read, including more than 3,000 books about travel. He explains why watching episodes of The Mary Tyler Moore Show might be the best way to find joie de vivre in Minnesota; the scenic differences between Route 35 and I-801; which vigilantes lived in Montana and which hailed from Idaho; and the histories of Lewis and Clark, Sitting Bull, and Custer that still haunt Route 2 today. As it makes its way from South Florida to North Dakota, from eastern Long Island to Oregon, Roads is travel writing at its best.
Pulitzer Prize–winning Larry McMurtry writes like no one else about the American frontier—though in Somebody's Darling, the frontier lies farther west, in Hollywood, and his subject is the strange world of the movies—those who make them and those who play in them. Somebody's Darling is the story of the fortunes of Jill Peel. Jill is brilliant, talented, and disciplined, and one of the best female directors in Hollywood, or anywhere else. She's got it all together, except where the men in her life are concerned: Joe Percy and Owen Oarson. Joe is a womanizing, aging screenwriter, cheerfully cynical about life, love, and art, and the pursuit of all three. But he'd rather be left alone with the young, oversexed wives of studio moguls. Owen is an ex-Texas football player and tractor salesman turned studio climber and sexual athlete. He'll climb from bed to bed in pursuit of his starry goal: to be a movie producer. Between the two of them and a cast of Hollywood's most unforgettable eccentrics, Jill Peel tries to create some movie magic. Full of all the grit and warmth of his best work, Somebody's Darling is Larry McMurtry's deft and raunchy romp behind the scenes of America's own unique Babel: Hollywood.
A debut author unearths the long-buried secrets of a small New England town in the 1850s in this richly atmospheric Gothic tale of murder, guilt, redemption, and finding love where it's least expected.
“If Chaucer were a Texan writing today . . . this is how he would have written and this is how he would have felt.”— New York Times In Leaving Cheyenne (1963), which anticipates Lonesome Dove more than any other early novel, the stark realities of the American West play out in a mesmerizing love triangle. Stubborn rancher Gideon Fry, resilient Molly Taylor, and awkward ranch hand Johnny McCloud struggle with love and jealousy as the years pass.
"One thing I’ve always liked about Hollywood is its zip, or speed. The whole industry depends to some extent on talent spotting. The hundreds of agents, studio executives, and producers who roam the streets of the city of Los Angeles let very little in the way of talent slip by." In this final installment of the memoir trilogy that includes Books and Literary Life, Larry McMurtry, "the master of the show-stopping anecdote" (O, The Oprah Magazine) turns his own keenly observing eye to his rollercoaster romance with Hollywood. As both the creator of numerous works successfully adapted by others for film and television (Terms of Endearment, Lonesome Dove, and the Emmy-nominated The Murder of Mary Phagan) and the author of screenplays including The Last Picture Show (with Peter Bogdanovich), Streets of Laredo, and the Oscar-winning Brokeback Mountain (both with longtime writing partner Diana Ossana), McMurtry has seen all the triumphs and frustrations that Hollywood has to offer a writer, and he recounts them in a voice unfettered by sentiment and yet tinged with his characteristic wry humor. Beginning with his sudden entrée into the world of film as the author of Horseman, Pass By—adapted into the Paul Newman–starring Hud in 1963—McMurtry regales readers with anecdotes that find him holding hands with Cybill Shepherd, watching Jennifer Garner’s audition tape, and taking lunch at Chasen’s again and again. McMurtry fans and Hollywood hopefuls alike will find much to cherish in these pages, as McMurtry illuminates life behind the scenes in America’s dream factory.
Crazy Horse was as much feared by tribal foes as he was honored by allies. His war record was unmatched by any of his peers, and his rout of Custer at the Little Bighorn reverberates through history. Yet so much about him is unknown or steeped in legend. Crazy Horse: A Lakota Life corrects older, idealized accounts—and draws on a greater variety of sources than other recent biographies—to expose the real Crazy Horse: not the brash Sioux warrior we have come to expect but a modest, reflective man whose courage was anchored in Lakota piety. Kingsley M. Bray has plumbed interviews of Crazy Horse’s contemporaries and consulted modern Lakotas to fill in vital details of Crazy Horse’s inner and public life. Bray places Crazy Horse within the rich context of the nineteenth-century Lakota world. He reassesses the war chief’s achievements in numerous battles and retraces the tragic sequence of misunderstandings, betrayals, and misjudgments that led to his death. Bray also explores the private tragedies that marred Crazy Horse’s childhood and the network of relationships that shaped his adult life. To this day, Crazy Horse remains a compelling symbol of resistance for modern Lakotas. Crazy Horse: A Lakota Life is a singular achievement, scholarly and authoritative, offering a complete portrait of the man and a fuller understanding of his place in American Indian and United States history.