Six-Guns Blazing contains two explosive short novels featuring historical figures from the Old West in wildly fictional new adventures. The first, Wyatt Earp and the Devil Incarnate, pits the legendary lawman and his right-hand man, Doc Holliday, against a deadly serial killer leaving a trail of dead bodies in his wake. The second novella, Emmett Dalton Rides Again!, imagines notorious bank robber Emmett Dalton picking up his guns as an elderly man in 1933 and robbing banks alongside the likes of John Dillinger and Machine Gun Kelly. This book contains graphic violence and is not suitable for readers under the age of 18.
From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consciousness and society. If a myth is popular, it must somehow appeal to or reinforce the individuals who view it by communicating a symbolic meaning to them. This meaning must, in turn, reflect the particular social institutions and attitudes that have created and continue to nourish the myth. Thus, a myth must tell its viewers about themselves and their society. This study, which takes up the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. Mostly, however, it will take us into the movies, the spectacular and not-so-spectacular sagebrush of the cinema. Unlike most works of social science, the data on which my analysis is based is available to all of my readers, either at the local theater or, more likely, on the late, late show. I hope you will take the opportunity, whenever it is offered, to check my findings and test my interpretations; the effort is small and the rewards are many. And if your wife, husband, mother, or child asks you why you are wasting your time staring at Westerns on TV in the middle of the night, tell them firmly—as I often did—that you are doing research in social science. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977. From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consc
In Chaparral Bend a gallows is being raised for youngster Ty Garland, accused of bank robbery. But is he really guilty? His old ma claims he is innocent, and town tamer, Crossdraw Kitchenbrand, is inclined to believe her, especially as the notorious gunman Angel Addison and his gang, the Yuma boys, seem to be involved. Crossdraw's search for answers brings him up against big ranch-owner Landon Clovis and leads him to the outlaw roost of Addisonville. He can count on the support of the old woman and a girl he has rescued, but will that be enough to succeed against overwhelming odds? Will his six-guns finally bring justice?
In WWII, U.S. naval forces discover compelling evidence that the Japanese are planning an attack on the Panama Canal. American O.S.S. agents Rick Reitan and Kelly Huni ally with a Nazi leader of guerilla forces in Panama in attempt to foil the powerful Japanese onslaught. The excitement builds as the treachery of the Japanese plan unfolds. Witness the passion and betrayal as the defenders go from city streets to the darkest jungle to keep their pact to preserve the pathway between the seas at all costs.
Six Guns Blazing contains two explosive short novels featuring historical figures from the Old West in wildly fictional new adventures. The first, Wyatt Earp and the Devil Incarnate, pits the legendary lawman and his right-hand man, Doc Holliday, against a deadly serial killer leaving a trail of dead bodies in his wake. The second novella, Emmett Dalton Rides Again!, imagines notorious bank robber Emmett Dalton picking up his guns as an elderly man in 1933 and robbing banks alongside the likes of John Dillinger and Machine Gun Kelly.
The Nomad: Lew Zane believed he was delivering justice—not vengeance—when he tracked down and killed the men who murdered his parents. But taking the law into his own hands has taken its toll on his soul. Ridding himself of his land and property, Lew plans to leave Arkansas for good and put the past behind him. The Kidnappers: They are the patriarchs of the most respected and wealthiest families in the territory—and the fathers of the men Lew Zane executed. They’ve abducted Seneca Jones, the woman Lew loves, hoping to lure him into a death trap. The Outlaw: Lew’s enemies have underestimated him. He has nothing left to lose, and no fear of the consequences of his actions—which will brand him as a wanted man for the rest of his life.
A wife is desperate to save herself and her son from a husband willing to do whatever it takes to ensure that his family doesn't get away. The twist? The husband is the President of the United States.
The Greatest Western Writer Of The 21st Century William Johnstone is acclaimed for his American frontier chronicles. A national bestseller, the legendary storyteller, along with J.A. Johnstone, has written a powerful new novel set in Texas--one century after the Revolutionary War. . . Liberty--Or Die For It One hundred years ago, American patriots picked up rifles and fought against British tyranny. That was Boston. There the enemy was King George III and his British troops. Now, In Last Chance, Texas, in the Big Bend River country, it's Abraham Hacker, a ruthless cattle baron who will slaughter anyone who tries to lay claim to the fertile land and everything on it. For Last Chance, freedom is under siege one violent act at a time. Until wounded Texas Ranger Hank Cannan arrives in town. Seeing the terrorized townfolk, Cannan is ready to start a second revolution. It's going to take a lot of guts. But one way or the other, Cannan is out to set Last Chance free--with bullets, blood, and a willingness to kill--or die--for the American right of freedom. . .
HOLDING OUT FOR A HERO Was he carrying neighborliness too far? Adam Treherne did the brave thing by catching a burglar breaking into the house next door. But this was no ordinary thief. She was pretty inept—and pretty cute! Which was an odd admission because Adam usually liked his woman blond and leggy. Sunny Taite was many things, but she was not a burglar. Neither was she blond nor leggy. She'd just forgotten her key. But there was no denying that her interfering next-door neighbor was an attractive physical specimen—if you ignored his personality. Tall, dark and definitely handsome, Adam was going to be hard to resist…. Jeanne Allan's books are "comical and fun." —Affaire de Coeur HOLDING OUT FOR A HERO
“A probing biography of the enfant terrible of 1960s and 1970s film-making . . . exhaustive and endlessly intriguing.” —Booklist Written by the film critic and historian David Weddle, this fascinating account does critical justice to an important body of cinema as it spins the tale of David Samuel Peckinpah’s dramatic, overcharged life and the turbulent times through which he moved. Sam Peckinpah was born into a clan of lumberjacks, cattle ranchers, and frontier lawyers. After a hitch with the Marines, he made his way to Hollywood, where he worked on a string of low-budget features. In 1955 he began writing scripts for Gunsmoke; in less than a year he was one of the hottest writers in television, with two classic series, The Rifleman and The Westerner, to his credit. From there he went on to direct a phenomenal series of features, including Ride the High Country, Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, and The Wild Bunch. Peckinpah was both a hopeless romantic and a grim nihilist, a filmmaker who defined his era as much as he was shaped by it. Rising to prominence in the social and political upheaval of the late sixties and early seventies, Peckinpah and his generation of directors—Stanley Kubrick, Arthur Penn, Robert Altman—broke with convention and turned the traditional genres of Western, science fiction, war, and detective movies inside out. No other era in Hollywood has matched it for sheer energy, audacity, and originality; no one cut a wider path through that time than Sam Peckinpah. “Groundbreaking.” —Michael Sragow, The Atlantic
