Peterson, Levi Signature Books, 2013 Library of Congress PS3566.E7694B3 2012 | Dewey Decimal 813.54
Recognized as a Mormon classic twenty years after its release,The Backslider features longstanding Christian conflicts played out in a scenic, sparsely populated area of southern Utah. A young ranch-hand, Frank Windham, conceives of God as an implacable enemy of human appetite. He is a dedicated sinner until family tragedy catapults him into an arcane form of penitence preached among frontier Mormons. He is saved by an epiphany that has proved controversial among readers, either interpreting it as an extreme impiety or celebrating it as a moving and entirely plausible rendering of a biblical theme in a Western setting.
Frank comes into contact with a host of rural and urban characters. Of central importance is his Lutheran girlfriend, Marianne, whom Frank seduces, begrudgingly marries, and eventually loves. Frank’s extended family is just a generation removed from polygamy and still energized by old-time grudges and deprivations. Along the way Frank encounters a closeted secular humanist, a polygamist prophet, a psychiatrist, a Mason, government employees, college professors, lawyers, and entrepreneurs—all drawn with heightened realism reminiscent of Charles Dickens or the grotesque forms of William Faulkner and Flannery O’Connor.
The story engages readers as it alternates almost imperceptibly between Frank’s naïve consciousness and the more informed awareness of its narrator. It can be read as a love story, a satiric comedy, or a dark and sobering study of self-mutilation. Shifting from one to another, it builds suspense and elicits
complex emotions, among them a profound sense of compassion. More joyous than cynical, it sympathizes deeply with the plight of all of God’s backsliders.
First published in 1975 and now in paperback, Cowboy Life continues to be a landmark study on the historical and legendary dimensions of the cowboy.
The central figure in American mythology, the cowboy can be seen everywhere: in films, novels, advertisements, TV, sports, and music. Though his image holds little resemblance to the historical cowboy, it is important because it represents many qualities with which Americans identify, including bravery, honor, chivalry, and individualism.
Accounts by Joseph G. McCoy, Richard Irving Dodge, Charles A. Siringo, and many others detail the daily trials and tribulations of cowboy life on the southern Great Plains-particularly Texas, Indian Territory, and Kansas-from the 1860s to around 1900. And in a new Afterword, editor William W. Savage, Jr. discusses the directions the cowboy myth has taken in the past two decades, as well as the impact the "new Western history" and films such as Lonesome Dove have had on popular culture.
This edition contains a new preface and afterword by the author.
Cowboy Poets and Cowboy Poetry
Edited by David Stanley and Elaine Thatcher University of Illinois Press, 2000 Library of Congress PS153.C67C69 2000 | Dewey Decimal 811.00992636
In bunkhouses or rodeo arenas, on the trail or around the campfire, cowboys have been creating and reciting poetry since the 1870s. In this comprehensive overview, folklorists, scholars, and cowboy poets join forces to explore the 125-year history and development of cowboy poetry and to celebrate those who sustain it.
Centered around six areas of focus, from historical background to biographical profiles to creative process, Cowboy Poets and Cowboy Poetry approaches the tradition of occupational folk poetry from a variety of perspectives. Contributors trace its history as an extension of the Homeric tradition of storytelling in verse and discuss such topics as the way a text evolves in retelling, how it becomes linked to a tune, and how poetic content fuses with form to generate narrative tension and humor.
Personal and telling portraits of cowboy poets and reciters--including D. J. O'Malley, Henry Herbert Knibbs, and a number of contemporary cowboy poets--illuminate the creative process through which individual poets work within a long community tradition, while comparative studies examine poetry by women, Mexican-American vaqueros, loggers, Argentine gauchos, and Australian bush poets.
Cowboy Poets and Cowboy Poetry offers the first in-depth examination of a distinctive and community-based tradition rich with larger-than-life heroes, vivid occupational language, humor, and unblinking encounters with birth, death, nature, and animals. Throughout, the collection shows that cowboy poetry interweaves two thematic strands: a fierce defense of an endangered way of life and a dynamic celebration of organic wholeness, camaraderie, and individualism.
Suggesting that better understanding of conflicts between Anglo and Latin America can come from the study of their contrasting popular fictions, the author compares the traditional attachment in Latin America to government by a strong man—a caudillo—to the diametrically opposed expansionist frontier ideology of the United States—the cowboy—who makes space safe for Anglo colonization.
Though the United States emerged from World War II with superpower status and quickly entered a period of economic prosperity, the stresses and contradictions of the Cold War nevertheless cast a shadow over American life. The same period marked the heyday of the western film. Cowboys as Cold Warriors shows that this was no coincidence. It examines many of the significant westerns released between 1946 and 1962, analyzing how they responded to and influenced the cultural climate of the country. Author Stanley Corkin discusses a dozen films in detail, connecting them to each other and to numerous others. He considers how these cultural productions both embellished the myth of the American frontier and reflected the era in which they were made.
Films discussed include: My Darling Clementine, Red River, Duel in the Sun, Pursued, Fort Apache, Broken Arrow, The Gunfighter, High Noon, Shane, The Searchers, Gunfight at the OK Corral, The Magnificent Seven, The Alamo, Lonely Are the Brave, Ride the High Country, and The Man Who Shot Liberty Valance.
The richness of Detroit’s music history has by now been well established. We know all about Motown, the MC5, and Iggy and the Stooges. We also know about the important part the Motor City has played in the history of jazz. But there are stories about the music of Detroit that remain untold. One of the lesser known but nonetheless fascinating histories is contained within Detroit’s country music roots. At last, Craig Maki and Keith Cady bring to light Detroit’s most important country and western and bluegrass stars, such as Chief Redbird, the York Brothers, and Roy Hall. Beyond the individuals, Maki and Cady also map out the labels, radio programs, and performance venues that sustained Detroit’s vibrant country and bluegrass music scene. In the process, Detroit Country Music examines how and why the city’s growth in the early twentieth century, particularly the southern migration tied to the auto industry, led to this vibrant roots music scene.
This is the first book—the first resource of any kind—to tell the story of Detroit’s contributions to country music. Craig Maki and Keith Cady have spent two decades collecting music and images, and visiting veteran musicians to amass more than seventy interviews about country music in Detroit. Just as astounding as the book’s revelations are the photographs, most of which have never been published before. Detroit Country Musicwill be essential reading for music historians, record collectors, roots music fans, and Detroit music aficionados.
"Age and size ain't got nothin' to do with it," Mack's daddy once said. "You gotta want to be a cowboy." Mack Hughes wanted to be a cowboy, all right, and he was just twelve years old when he went to work for the famous Hashknife spread in northern Arizona. Growing up on the range, Mack lived a life about which modern boys can only wonder. He spins yarns of bad horses and the men who rode them, tells of wild dogs that ravaged young calves, and recalls lonely winter weeks spent at a remote camp-where his home was a shack so flimsy that snow blew through the cracks and covered his bed.
Stella Hughes, author of the best-selling Chuck Wagon Cookin' and a cowhand in her own right, has compiled from her husband's reminiscences an authentic look both at Arizona history and at cowboying as it really was. Illustrated by Joe Beeler, founding member of the Cowboy Artists of America.
Few names in the lore of western gunmen are as recognizable. Few lives of the most notorious are as little known. Romanticized and made legendary, John Ringo fought and killed for what he believed was right. As a teenager, Ringo was rushed into sudden adulthood when his father was killed tragically in the midst of the family's overland trek to California. As a young man he became embroiled in the blood feud turbulence of post-Reconstruction Texas.
The Mason County Hoo Doo” War in Texas began as a war over range rights, but it swiftly deteriorated into blood vengeance and spiraled out of control as the body count rose. In this charnel house Ringo gained a reputation as a dangerous gunfighter and man killer. He was proclaimed throughout the state as a daring leader, a desperate man, and a champion of the feud. Following incarceration for his role in the feud, Ringo was elected as a lawman in Mason County, the epicenter of the feud’s origin.
The reputation he earned in Texas, further inflated by his willingness to shoot it out with Victorio’s raiders during a deadly confrontation in New Mexico, preceded him to Tombstone in territorial Arizona. Ringo became immersed in the area’s partisan politics and factionalized violence. A champion of the largely Democratic ranchers, Ringo would become known as a leader of one of these elements, the Cowboys. He ran at bloody, tragic odds with the Earp brothers and Doc Holliday, finally being part of the posse that hounded these fugitives from Arizona. In the end, Ringo died mysteriously in the Arizona desert, his death welcomed by some, mourned by others, wrongly claimed by a few. Initially published in 1996, John Ringo has been updated to a second edition with much new information researched and uncovered by David Johnson and other Ringo researchers.
For more than sixty years, Roy Rogers and Dale Evans personified the romantic, mythic West that America cherished well into the modern age. Blazing a trail through every branch of the entertainment industry—radio, film, recordings, television, and even comic books—the couple capitalized on their attractive personas and appealed to the nation's belief in family values, an independent spirit, community. King of the Cowboys, Queen of the West presents these two celebrities in the most comprehensive and inclusive account to date. Part narrative, part reference, this impeccably researched, highly accessible survey spans the entire scope of Rogers's and Evans's careers, illuminating and celebrating their place in twentieth-century American popular culture. Following the pair through each stage of their professional and personal trajectories, author Raymond E. White explores the unique alchemy of the singing cowboy and his free-spirited yet feminine partner. In a dual biography, he shows how Rogers and Evans carefully husbanded their public image and—of particular note—incorporated their Christian faith into their performances. And in a series of exhaustive appendixes, he documents their contributions to each medium they worked in. Testifying to both the breadth and the longevity of their careers, the book includes radio logs, discographies, filmographies, and comicographies that will delight historians and collectors alike. With its engaging tone and meticulous research, King of the Cowboys, Queen of the West is bound to become the definitive source on the lives of these two great American icons.
In the decades immediately following the Civil War, the United States expanded rapidly. As the nation grew, so too did federal law, moving into areas of citizens’ lives previously regulated by local custom and state and territorial statutes.
Drawing on contemporary accounts and the letters that flowed between the Washington office of the Justice Department and its attorneys and marshals throughout the states and territories, Cresswell uses a case-study approach to explore the enforcement of federal law in four regions. In northern Mississippi, the rights of freedmen to vote clashed with established rules of relations between blacks and whites. In Utah Territory, Mormon polygamy and economic dominance challenged the aspirations of non-Mormon settlers. In eastern Tennessee, desperate poverty lent enchantment to the easy money of moonshining. In Arizona Territory, frontier greed and violence threatened the lives of people and the chances of early admission to the Union of states.
Mormons and Cowboys, Moonshiners and Klansmen moves beyond these local case studies to illuminate larger questions, including the evolution of the American criminal justice system, the relationship of the South and the West to the rest of the nation, the workings of the 19th-century American bureaucracy, and conflict of the local, state, and federal governments.
Out of the efforts of these early federal marshals came the modern federal justice system, with its firm policy guidelines, its Federal Bureau of Investigation, and its broader powers over the country as a whole.
Often times the smaller the man, the harder the punch--this adage was true in the case of diminutive Luke Short, whose brief span of years played out in the Wild West. His adventures began as a teenage cowboy who followed the trail from Texas to the Kansas railheads. He then served as a scout for the U.S. Army during the Indian wars and, finally, he perfected his skills as a gambler in locations that included Leadville, Tombstone, Dodge City, and Fort Worth. In 1883, in what became known as the "Dodge City War," he banded together with Wyatt Earp, Bat Masterson, and others to protect his ownership interests in the Long Branch Saloon--an event commemorated by the famous "Dodge City Peace Commission" photograph.
The irony is that Luke Short is best remembered for being the winning gunfighter in two of the most celebrated showdowns in Old West history: the shootout with Charlie Storms in Tombstone, Arizona, and the showdown against Jim Courtright in Fort Worth, Texas. He would have hated that. During his lifetime, Luke Short became one of the best known sporting men in the United States, and one of the wealthiest. He had been a partner in the Long Branch Saloon in Dodge City, as well as the White Elephant in Fort Worth. He became friends with other wealthy sporting men, such as William H. Harris, Jake Johnson, and Bat Masterson, who helped broaden his gaming interests to include thoroughbred horse racing and boxing.
Before he died he would become a familiar figure in Chicago, Memphis, New Orleans, and Saratoga Springs, where he raced his string of horses. He traveled with other wealthy sporting men in private railroad cars to attend heavyweight championship fights. Luke Short was always a little man dealing in big games. He married the beautiful Hattie Buck, who could turns heads at all the top resorts they visited as man and wife.
Jack DeMattos and Chuck Parsons have researched deeply into all records to produce the first serious biography of Luke Short, revealing in full the epitome of a sporting man of the Wild West.
Rodeo is an enduring relic of America’s popular culture, drawing capacity audiences to all its venues, from small western cowtowns to Madison Square Garden. The rodeo cowboy, that figure of rugged independence and solitary courage, continues to evoke the spirit of a vanished frontier and the hardy pioneers who conquered it. In this study historian Michael Allen examines the image of the rodeo cowboy and the role this image has played in popular culture over the past century. He sees rodeo as a significant American folk festival and the rodeo cowboy as the avatar of a nearly extinct authentic figure, the “real cowboy,” who embodies the skills and values of traditional western rural culture. Allen’s analysis explores the evolution of the myth of the rodeo man and its subsequent institutionalization and acculturation into the media of popular culture. He also examines the impact on this myth of significant changes in the rodeo milieu—the commercialization of the event and the professionalization of rodeo performers; the arrival on the rodeo scene of performers from outside the white, male, western, rural origins of the traditional cowboy performers. He discovers that America’s—and indeed the world’s—fascination with the rodeo cowboy reflects feelings far deeper than a taste for exciting entertainment. Allen’s discussion of the archetypal figure of the rodeo cowboy will change forever our perception of rodeo, but it will also help us understand how the ancient tension between frontier and civilization continues to play a role in our national imagination.
Set in Colorado, New Mexico, and Arizona, the stories are a loosely tied string of old timer's yarns with a continuing cast of engaging characters, whom Kiskaddon avoids reducing to cowboy stereotypes. They include, as Siems describes them, "Kiskaddon himself as the character Shorty. As a common waddy with a small man's feistiness and a young man's mischief, Shorty encounters the wicked world with a succession of companions: Bill, high-headed and a bit of an outlaw; Rildy Briggs, untamable and unstoppable young cowgirl; and Ike, an old-fashioned dandy and 'a very fortunate person.' More or less in the background is the Boss-actually a series of Bosses-generally affectionately respected as long as he remains democratic in his dealings with the waddies. Buffoonery is provided by a succession of pompous characters, from townspeople who look down their noses on wild, unwashed waddies to professors from the East who have read books on how ranches should be run."
The Vaqueiros de Alzada, a cattle-herding people in the Asturian mountains of Spain, have one of the highest suicide rates in Europe—and an attitude toward death that gives this statistic unusual meaning. This World, Other Worlds considers death among the Vaqueiros as a central cultural fact which reveals local ideas about the origin and destiny of humans, the relations of humans and animals, the configuration of the universe, and the nature of society. Interested chiefly in the conceptual and meaningful aspects of death, María Cátedra focuses on the cultural resources with which the Vaqueiros confront their own mortality—how they experience death and what this reveals about the way they see this world and other worlds.
Applying sensitive ethnographic insight to a rich body of oral testimony, Cátedra discloses an unsuspected symbolic universe native to the Vaqueiros. Death is seen here in close, coherent relation to pain, age, and suffering; sickness and suicide, one must understand the cultural valuation of different ways of dying and the conditions under which suicides take place. To understand what it means to be a Vaqueiro is to understand how suicide can be perceived by a people as acceptable.
A groundbreaking work in European ethnography, This World, Other Worlds takes symbolic analysis to a new level. In its illumination of local conceptions of death, grace, and sainthood, the book also makes a substantial contribution to the anthropology of religion.
"One of the finest works to come out in recent years on cowboy songs,
in addition to being the first good collection of the cowboy's bawdy material.
. . . A must for anyone who is a student of cowboy music--or anyone who
just likes the sound of dirty subject matter rhyming." -- Hal Cannon, Journal of Country Music
"A brave and honest step toward increasing our understanding of
what cowboys really sing." -- Bob Bovee, Old Time Herald
"A thorough piece of scholarship and collectanea and a valuable,
welcome addition to cowboy song literature." -- Keith Cunningham, Mid-America Folklore
"Logsdon has written the book with a scholar's attention to detail.
But what shows through the scholarship is the collector's enthusiasm for
the material. . . . A superb job in a difficult area." -- Angus Kress
Gillespie, Journal of American History
"A major contribution to the folklore and popular culture, history,
and social psychology of American cowboy culture." -- Kenneth S.
Goldstein, former president, American Folklore Society