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JOHNSTONE COUNTRY. RUSTLERS’ PARADISE. An unholy trio of cutthroat rustlers turn a routine horse drive into an epic showdown between good and evil—with a little divine justice from gunfighting legend Perley Gates . . . At first, the job sounds easy: lead a small herd of horses across the Arkansas–Texas border to the Double-D ranch near Texarkana. No problem—at least not for a man like Perley Gates. In fact, he’s looking forward to the 150-mile journey with his old sidekick Possum Smith and young Sonny Rice, and doesn’t expect any trouble along the way. Unfortunately, trouble has a way of finding Perley Gates. This time, it’s a trigger-happy trio of horse thieves who take one look at old Possum, young Sonny, and the low-key Perley, and decide they’re three very easy targets. But in the Old West, nothing comes easy. Except death . . . So begins one hell of a showdown. On one side are the forces of evil itself, with notorious gunslinger Spade Devlin gunning for blood. On the other side are a few good men, a town under seige—and a merciless angel of vengeance named Perley Gates. . . . Live Free. Read Hard.
Focused on an early twentieth-century home in Texarkana, Arkansas, Doris Douglas Davis’s The Ahern Home of Texarkana offers not only a discussion of the architecture of a Classical Revival dwelling but also provides a closely observed account of the material culture and social structures of a particular time and place in the American South. Built in 1905–1906 by Patrick Ahern, who immigrated to the United States from Dungarvan, Ireland, in 1881, the house at 403 Laurel Street was home to Ahern, his wife Mary, their six children, and a variety of descendants for over a century before its acquisition by the Texarkana Museums System in 2011. Today, the house, listed on the National Register of Historic Places, serves as a writing retreat, music center, and venue for historical presentations and educational activities. Based on archival materials, interviews with members of the family and those who knew them, and other research, Davis’s examination of the home and its inhabitants also includes a discussion of the complex relationship between persons of privilege such as the Aherns and the domestic servants, predominantly African American, whose often-arduous work made possible the smooth functioning of the household within its social context in the Jim Crow South. Describing the “fraught” relationships in the South between Black domestic servants and their white employers, Davis presents evidence of “the inevitable despair wrought by inequality and the tremendous capacity of the human heart to love.” This detailed tour of the home, its construction and furnishings, and the socio-historical context of its day-to-day activities provides readers a window of understanding and appreciation that will inform students and scholars of material culture as well as those interested in historical preservation.
In 1946, years before the phrase "serial murder" was coined, a masked killer terrorized the town of Texarkana on the Texas-Arkansas border. Striking five times within a ten-week period, always at night, the prowler claimed six lives and left three other victims wounded. Survivors told police that their assailant was a man, but could supply little else. A local newspaper dubbed him the Phantom Killer, and it stuck. Other reporters called the faceless predator the "Moonlight Murderer," though the lunar cycle had nothing to do with the crimes. Texarkana's phantom was not America's first serial slayer; he certainly was not the worst, either in body count or sheer brutality. But he has left a crimson mark on history as one of those who got away. Like the elusive Axeman of New Orleans, Cleveland's Mad Butcher of Kingsbury Run, and San Francisco's Zodiac Killer, the Phantom Killer left a haunting mystery behind. This is the definitive story of that mystery.