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Whatever we might think of them, popular Westerns, both movies and cheap paperbacks on the newsstand racks, have had a powerful impact on both U.S. culture and Western European culture in general. Collected here are new studies from a variety of critical approaches of popular Westerns by scholars from the U.S., the U.K., and Europe, new studies of classic William S. Hart, John Ford, Clint Eastwood, and Sam Peckinpah film Westerns as well as new studies of seldom studied writers such as James Warner Bellah, Clarence Mulford, Charles Portis, and Oakley Hall.
Pete Brown, lyricist for 60s super group Cream, has been a poet, singer, percussionist, record producer and screenwriter. As a Beat poet he worked alongside Spike Milligan, Allen Ginsberg and Robert Graves. As songwriter he is best known for his work with Cream, whose guitarist was Eric Clapton. Having been part of the Underground, he emerged as the lyricist of their massive hit songs ‘White Room’, ‘I Feel Free’, and ‘Sunshine of your Love’. White Rooms and Imaginary Westerns is the personal odyssey of this poet, musician and writer. Brown takes the reader from the green fields of Surrey to the claustrophobia of a Jewish school in Hendon, from surreal day jobs operating lifts to hitch-hiking around Britain in a search for identity and girls. White Rooms deals honestly with the problems he faced – from the sexual side effects of a having a Jewish mother, to the mental adjustment necessary when, after years of earning £20 a week as a performing poet, he began receiving major sums his hit songs. There are many hilarious tales of being a touring musician, as well as anarchic opinions on drugs, love, music and movies. There are stories of the many more famous people Brown has worked with and met from Ginsberg and Burroughs to Spike Milligan, from Clapton to Peter Green and Jeff Beck, and from Alasdair Gray to Ken Campbell and Martin Scorsese.From affairs with actresses to Browns’ 30-year collaboration with Cream singer, Jack Bruce, this is a fascinating journey into music, poetry, love and life by one of the biggest unsung heroes of rock and the beat movement.
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.
From his decision to leave school at fifteen to roam the world, to his recollections of life as a hobo on the Southern Pacific Railroad, as a cattle skinner in Texas, as a merchant seaman in Singapore and the West Indies, and as an itinerant bare-knuckled prizefighter across small-town America, here is Louis L'Amour's memoir of his lifelong love affair with learning—from books, from yondering, and from some remarkable men and women—that shaped him as a storyteller and as a man. Like classic L'Amour fiction, Education of a Wandering Man mixes authentic frontier drama--such as the author's desperate efforts to survive a sudden two-day trek across the blazing Mojave desert--with true-life characters like Shanghai waterfront toughs, desert prospectors, and cowboys whom Louis L'Amour met while traveling the globe. At last, in his own words, this is a story of a one-of-a-kind life lived to the fullest . . . a life that inspired the books that will forever enable us to relive our glorious frontier heritage.
“Thompson-Hernández's portrayal of Compton's black cowboys broadens our perception of Compton's young black residents, and connects the Compton Cowboys to the historical legacy of African Americans in the west. An eye-opening, moving book.”—Margot Lee Shetterly, New York Times bestselling author of Hidden Figures “Walter Thompson-Hernández has written a book for the ages: a profound and moving account of what it means to be black in America that is awe inspiring in its truth-telling and limitless in its empathy. Here is an American epic of black survival and creativity, of terrible misfortune and everyday resilience, of grace, redemption and, yes, cowboys.”— Junot Díaz, Pulitzer prize-winning author of This is How You Lose Her A rising New York Times reporter tells the compelling story of The Compton Cowboys, a group of African-American men and women who defy stereotypes and continue the proud, centuries-old tradition of black cowboys in the heart of one of America’s most notorious cities. In Compton, California, ten black riders on horseback cut an unusual profile, their cowboy hats tilted against the hot Los Angeles sun. They are the Compton Cowboys, their small ranch one of the very last in a formerly semirural area of the city that has been home to African-American horse riders for decades. To most people, Compton is known only as the home of rap greats NWA and Kendrick Lamar, hyped in the media for its seemingly intractable gang violence. But in 1988 Mayisha Akbar founded The Compton Jr. Posse to provide local youth with a safe alternative to the streets, one that connected them with the rich legacy of black cowboys in American culture. From Mayisha’s youth organization came the Cowboys of today: black men and women from Compton for whom the ranch and the horses provide camaraderie, respite from violence, healing from trauma, and recovery from incarceration. The Cowboys include Randy, Mayisha’s nephew, faced with the daunting task of remaking the Cowboys for a new generation; Anthony, former drug dealer and inmate, now a family man and mentor, Keiara, a single mother pursuing her dream of winning a national rodeo championship, and a tight clan of twentysomethings--Kenneth, Keenan, Charles, and Tre--for whom horses bring the freedom, protection, and status that often elude the young black men of Compton. The Compton Cowboys is a story about trauma and transformation, race and identity, compassion, and ultimately, belonging. Walter Thompson-Hernández paints a unique and unexpected portrait of this city, pushing back against stereotypes to reveal an urban community in all its complexity, tragedy, and triumph. The Compton Cowboys is illustrated with 10-15 photographs.
"An all-out women-driven, queer, transgender, multiracial takeover of the Old West . . . and that's exactly what Melissa Lenhardt delivers in her unapologetically badass western, Heresy." - New York Times "Lenhardt has created a bold new story where women have taken their rightful place in the narrative of the Outlaw Western genre; where wit, wisdom and wiles could mean the difference between life and death, and where the fellowship of women bested every challenge." -- Kathleen Kent Margaret Parker and Hattie LaCour never intended to turn outlaw. After being run off their ranch by a greedy cattleman, their family is left destitute. As women alone they have few choices: marriage, lying on their backs for money, or holding a gun. For Margaret and Hattie the choice is simple. With their small makeshift family, the gang pulls off a series of heists across the West. Though the newspapers refuse to give the female gang credit, their exploits don't go unnoticed. Pinkertons are on their trail, a rival male gang is determined to destroy them, and secrets among the group threaten to tear them apart. Now, Margaret and Hattie must find a way to protect their family, finish one last job, and avoid the hangman's noose. "Readers who relish an unusual narrative structure will enjoy this unique take on the traditional western." -- Booklist
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.
A leading figure in the debate over the literary canon, Jane Tompkins was one of the first to point to the ongoing relevance of popular women's fiction in the 19th century, long overlooked or scorned by literary critics. Now, in West of Everything, Tompkins shows how popular novels and films of the American west have shaped the emotional lives of people in our time. Into this world full of violence and manly courage, the world of John Wayne and Louis L'Amour, Tompkins takes her readers, letting them feel what the hero feels, endure what he endures. Writing with sympathy, insight, and respect, she probes the main elements of the Western--its preoccupation with death, its barren landscapes, galloping horses, hard-bitten men and marginalized women--revealing the view of reality and code of behavior these features contain. She considers the Western hero's attraction to pain, his fear of women and language, his desire to dominate the environment--and to merge with it. In fact, Tompkins argues, for better or worse Westerns have taught us all--men especially--how to behave. It was as a reaction against popular women's novels and women's invasion of the public sphere that Westerns originated, Tompkins maintains. With Westerns, men were reclaiming cultural territory, countering the inwardness, spirituality, and domesticity of the sentimental writers, with a rough and tumble, secular, man-centered world. Tompkins brings these insights to bear in considering film classics such as Red River and Lonely Are the Brave, and novels such as Louis L'Amour's Last of the Breed and Owen Wister's The Virginian. In one of the most moving chapters (chosen for Best American Essays of 1991), Ttompkins shows how the life of Buffalo Bill Cody, killer of Native Americans and charismatic star of the Wild West show, evokes the contradictory feelings which the Western typically elicits--horror and fascination with violence, but also love and respect for the romantic ideal of the cowboy. Whether interpreting a photograph of John Wayne of meditating on the slaughter of cattle, Jane Tompkins writes with humor, compassion, and a provocative intellect. Her book will appeak to many Americans who read or watch Westerns, and to all those interested in a serious approach to popular culture.
Ranging from the novels of James Fenimore Cooper to Louis L'Amour, and from classic films such as STAGECOACH to spaghetti Westerns like A FISTFUL OF DOLLARS, culture scholar Lee Clark Mitchell shows how Westerns as a genre helped assuage a series of crises in American culture by responding to fears and obsessions of its audience--particularly what it means to be a "man". 30 photos. 5 line drawings.
"These are the rules I've picked up along the way to help me remain invisible when I'm writing a book, to help me show rather than tell what's taking place in the story."—Elmore Leonard For aspiring writers and lovers of the written word, this concise guide breaks down the writing process with simplicity and clarity. From adjectives and exclamation points to dialect and hoopetedoodle, Elmore Leonard explains what to avoid, what to aspire to, and what to do when it sounds like "writing" (rewrite). Beautifully designed, filled with free-flowing, elegant illustrations and specially priced, Elmore Leonard's 10 Rules of Writing is the perfect writer's—and reader's—gift.