A cowboy struggles to adapt to the modern world in 1910s Texas. Hewey Calloway finds it difficult to accept fences, cars and, worst of all--sheep. Also, he is advancing in years, though here there is a consolation, he is teaching the trade to his nephew.
The Good Old Boys and The Smiling Country pairs two wonderful novels by one of the most honored of all western writers, Elmer Kelton The Good Old Boys Hewey Calloway has a problem. He wants to be a footloose cowboy, endlessly wandering the land on horseback, but the open range of his childhood is slowly disappearing. Land is being parceled out, barbed-wire fences are springing up all over, and cars are replacing the horse as a mode of transportation. Swimming against the tide of “progress,” Hewey begins to understand that the time of the cowboy is over, that the life he dreams of has become part of the past. He must find a new path to happiness—one that may require a great sacrifice. The Smiling Country It is now 1910 and Hewey Calloway’s freewheeling life is coming to an end—the fences, trucks, and automobiles he hates are even creeping in to remote Alpine in the “smiling country” of West Texas. When he is badly injured trying to break a renegade horse, Hewey’s regrets over his lost love, schoolteacher Spring Renfro haunt him as he sees the loneliness that awaits him. The Smiling Country is filled with humor, love, and the lore of the cowboy life at a time when the great, free, open ranges of the West were adjusting to a new, technological era. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In 1875, nearly forty years after the Mexican War, Mexicans and Texans are still spilling blood over ownership of the Nueces Strip--a hot, dry stretch of coastal prairie that bushwackers and horse thieves have turned into a lawless hell. Captain L.H. McNelly, a complex and determined Confederate veteran, is brought into the Nueces Strip for one purpose: to keep the peace. His measures are harsh and controversial--but McNelly wasn't sent in to be popular. In this boilerpot of killing and racial hatred, can any man bring lasting peace? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
"The Time It Never Rained was inspired by actual events, when the longest and most severe drought in living memory pressed ranchers and farmers to the outer limits of courage and endurance."—Elmer Kelton, Seven-time Spur Award-winning author Rio Seco was too small to afford a professional manager for its one-room Chamber of Commerce. And Rio Seco, meaning "dry river" in Spanish, symbolizes the biggest enemy of the ranchers and farmers in 1950s Texas, an enemy they can't control: drought. To cranky Charlie Flagg, an honest, decent rancher, the drought of the early 1950s is a battle that he must fight on his own grounds. Refusing the questionable "assistance" of federal aid programs and their bureaucratic regulations, Charlie and his family struggle to make the ranch survive until the time it rains again—if it ever rains again. Charlie Flagg, among the strongest of Elmer Kelton's memorable creations, is no pasteboard hero. He is courageous and self-sufficient but as real as his harsh and unforgiving West Texas home country. His battle with an unfathomable foe is the stuff of epics and legends. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
When Elmer Kelton died in the fall of 2009, the literary world lost a consummate writer, a man the New York Times called a “novelist who brought the sensibility of the old-style western to bear on a modern Texas landscape of oil fields and financially troubled ranches.” Kelton was also a modest, kind man, always willing to advise a struggling writer or write a blurb for a first time published author, or assign publishing rights to his six masterpieces to a small university press. TCU Press owes a great debt of gratitude to Kelton, and this volume, Elmer Kelton: Memories and Essays, attempts to explore just what it is that made Kelton its leading author. Editors Judy Alter and James Ward Lee gathered together a group of Kelton aficionados who had either published or taught or sold his books, or were simply friends. In several meetings, they divided up the main themes of Kelton’s writing: Alter provides the overview of Kelton’s career; Felton Cochran, longtime owner of Cactus Books in San Angelo, describes how the friendship between bookstore owner and author grew over the years; Ricky Burk, pastor of the church from which Kelton was buried, talks about the man’s influence in his community; Kelton’s son, Steve, explains how Kelton’s career as journalist permeated his novels; Ruth McAdams, who has taught Kelton for years, explores how he deals with the themes of endurance and change; Joyce Roach delicately covers how race and ethnicity figure in Kelton’s plots and the development of his unforgettable characters; Lee gives readers his inimitable take on the Hewey Calloway Trilogy—The Good Old Boys, The Smiling Country, and Six Bits a Day; and Bob J. Frye takes a wry look at Kelton’s use of humor throughout his career. The book also contains Kelton’s own view of the history of the Western novel, a response to revisionist criticism. And finally Cochran provides us a list of most, not all, of Elmer Kelton’s extraordinary body of work.
"The Buckskin Line tells of Texas' chaotic early years, when a ragtag group of irregular volunteers fought to defend the far edges of settlement from incursion by Indians and frontier outlaws. In time, they would become known as the Texas Rangers."—Elmer Kelton This is a story of the early days when... An intense, red-haired young man named Rusty Shannon rides into Fort Belknap on the Brazos River and joins the Texas Rangers. Years before, Mike Shannon rescued Rusty from a Comanche war party and became his adoptive father. Not long ago, Mike Shannon, was bushwhacked and killed, and his death still haunts Rusty. Rusty thinks he knows the identity of Mike's killers. But with Texas now in the throes of seceding from the Union, Rusty has his hands full fighting for the law in lawless Texas and for the life of the woman he loves. If that were not enough of a burden, Rusty is also heading for a showdown with the Comanche warrior who killed his family over twenty years ago. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Includes·Samples and photos of emerging church worship gatherings ·Recommended resources for the emerging churchThe seeker-sensitive movement revolutionized the way we did church and introduced countless baby boomers to Jesus. Yet trends show that today’s post-Christian generations are not responding like the generations before them. As we enter a new cultural era, what do worship services look like that are connecting with the hearts of emerging generations? How do preaching, leadership, evangelism, spiritual formation, and, most of all, how we even think of “church” need to change?The Emerging Church goes beyond just theory and gets into very practical ways of assisting you in your local church circumstances. There is no one right way, no model for us all to emulate. But there is something better. Dan Kimball calls it “Vintage Christianity”: a refreshing return to an unapologetically sacred, raw, historical, and Jesus-focused missional ministry. Vintage Christianity connects with emerging post-seeker generations who are very open spiritually but are not interested in church. For pastors, leaders, and every concerned Christian, Kimball offers a riveting and easy-to-grasp exploration of today’s changing culture and gives insight into the new kind of churches that are emerging in its midst. Included is running commentary by Rick Warren, Brian McLaren, Howard Hendricks, and others.
Contributors to this volume address the issue of the representation of warfare, in an attempt to assess the veracity or mendacity of war images and their probable impact upon the sequence of events. War images may trigger unfathomable horror or conversely and paradoxically attain sublimity. The margin is sometimes narrow between ethics and aesthetics, let alone the almost irrepressible shift from information to propaganda.