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Reprint. Originally published: New York: Atheneum, 1983.
When people think of legendary Texas cattle ranches the images that first come to mind are iconic, open-range operations like King Ranch of South Texas. In Henry C. “Hank” Smith and the Cross B Ranch, historian M. Scott Sosebee tells the story of one pioneer settler’s small but significant ranch in West Texas. The Cross B Ranch of Blanco Canyon struggled but endured to become quite successful, even while surrounded by big ranching empires. Founder Hank Smith went on to become one of the region’s most prominent, civic-minded citizens. Born in Bavaria, Smith left Germany in 1851 at the age of fourteen and traveled to Ohio to live with a sister. Less than two years later, he left Ohio to seek better opportunities in the American West. In the course of his westering life he worked as a teamster on the Santa Fe Trail, searched for gold in Arizona and New Mexico, served in both the Confederate and Union armies during the Civil War, operated a freighting business, owned a hotel, and eventually moved to Blanco Canyon and became a stock raiser. Although he did raise cattle, for most of his life as a stockman he raised twice as many sheep as he did cows, yet was one of the first in West Texas to upgrade his cattle stock with purebred bloodlines. In Henry C. “Hank” Smith and the Cross B Ranch, M. Scott Sosebee enriches our understanding of western heritage and ranching in America through a compelling and lively biography set on the small stage of an unassuming but important ranch.
Life on the American frontier wasn't easy. Pioneers had to deal with tough challenges including rough terrain, extreme weather, starvation, and dangerous animals. But in spite of the hardships, people persevered. Follow the true stories of those who braved the frontier and what they had to do to survive in this book from the Fighting to Survive series.
Countless studies of the American West have been written from the viewpoint of history, psychology, sociology, and anthropology. But the West has seldom been written about with the reflective pen of a philosopher. Offering more than a fresh retelling, in thoroughly human terms, of the major historical events of the nineteenth-century West, Gerald Kreyche also leads the reader in a search for the spirit of the West itself. That spirit was one with the American Dream, which offered freedom, individualism, and self-sufficiency to those strong enough and gutsy enough to heed the call of Manifest Destiny. Although the West was and is the most American part of America itself, its natural wonders, its spacious grandeur, its myths and mystique have captured the hearts and imaginations of people the world over. We have all experienced the quickened pulse at the mention of things indelibly western—tumbleweed, mountain men, high plains, cowboys and Indians, sod houses, coyotes, and grizzlies. And who doesn't react to such bigger-than-life figures as Jim Bridger, Buffalo Bill, George Armstrong Custer, Sitting Bull, and Crazy Horse? The personal humdrum of our times rapidly disappears when, through the magic of western films, TV shows, and books, we vicariously lose ourselves and then find ourselves in the American West of a bygone time. The West, then, produced a quasi-separate culture. And, as each culture must, it gave birth to its own ethos, its own special character, its own tone and set of guiding beliefs. Kreyche contends that in the process of "westering," the veneer of the sophisticated easterner was sloughed off, leaving in sharp outline the frontiersman and the pioneer. In their own manner, these men and women produced a new species of homo americanus.
No choice…no chance…no mercy. The rough Arkansas hill country is running with rivers of blood, and Skye Fargo is about to go swimming. He’s galloped into a long-standing feud between the Tutt and Evans clans—and after he has a two-fisted talk with the notorious Clay Evans, Fargo finds himself marked for death by an entire family of killer kinfolk. But the Trailsman still has plenty of talking to do—and he’s going to end every sentence with a bullet…
In the tradition of Empire of the Summer Moon, a stunningly vivid historical account of the manhunt for Geronimo and the 25-year Apache struggle for their homeland. They called him Mickey Free. His kidnapping started the longest war in American history, and both sides--the Apaches and the white invaders—blamed him for it. A mixed-blood warrior who moved uneasily between the worlds of the Apaches and the American soldiers, he was never trusted by either but desperately needed by both. He was the only man Geronimo ever feared. He played a pivotal role in this long war for the desert Southwest from its beginning in 1861 until its end in 1890 with his pursuit of the renegade scout, Apache Kid. In this sprawling, monumental work, Paul Hutton unfolds over two decades of the last war for the West through the eyes of the men and women who lived it. This is Mickey Free's story, but also the story of his contemporaries: the great Apache leaders Mangas Coloradas, Cochise, and Victorio; the soldiers Kit Carson, O. O. Howard, George Crook, and Nelson Miles; the scouts and frontiersmen Al Sieber, Tom Horn, Tom Jeffords, and Texas John Slaughter; the great White Mountain scout Alchesay and the Apache female warrior Lozen; the fierce Apache warrior Geronimo; and the Apache Kid. These lives shaped the violent history of the deserts and mountains of the Southwestern borderlands--a bleak and unforgiving world where a people would make a final, bloody stand against an American war machine bent on their destruction.
For nearly half a century, celebrated historian Ron Tyler has researched, interpreted, and exhibited western American art. This splendid volume, gleaned from Tyler’s extensive career of connoisseurship, brings together eight of the author’s most notable essays, reworked especially for this volume. Beautifully illustrated with more than 150 images, Western Art, Western History tells the stories of key artists, both famous and obscure, whose provocative pictures document the people and places of the nineteenth-century American West. The artists depicted in these pages represent a variety of personalities and artistic styles. According to Tyler, each of them responded in unique ways to the compelling and exotic drama that unfolded in the West during the nineteenth century—an age of exploration, surveying, pleasure travel, and scientific discovery. In eloquent and engaging prose, Tyler unveils a fascinating cast of characters, including the little-known German-Russian artist Louis Choris, who served as a draftsman on the second Russian circumnavigation of the globe; the exacting and precise Swiss artist Karl Bodmer, who accompanied Prince Maximilian of Wied on his sojourn up the Missouri River; and the young American Alfred Jacob Miller, whose seemingly frivolous and romantic depictions of western mountain men and American Indians remained largely unknown until the mid-twentieth century. Other artists showcased in this volume are John James Audubon, George Caleb Bingham, Alfred E. Mathews, and, finally, Frederic Remington, who famously sought to capture the last glimmers of the “old frontier.” A common thread throughout Western Art, Western History is the important role that technology—especially the development of lithography—played in the dissemination of images. As the author emphasizes, many works by western artists are valuable not only as illustrations but as scientific documents, imbued with cultural meaning. By placing works of western art within these broader contexts, Tyler enhances our understanding of their history and significance.