His latest assignment--to track down the birth parents of his freeloader friend Ratso--proves to be no small task, but Kinky's resentment turns to mourning when Ratso turns up dead. The trail of clues leads Kinky from downtown Manhattan to an escape on the Hudson, where a medicine chest yields the tragic truth.
Almost two decades after his death, John Wayne is still America’s favorite movie star. More than an actor, Wayne is a cultural icon whose stature seems to grow with the passage of time. In this illuminating biography, Ronald L. Davis focuses on Wayne’s human side, portraying a complex personality defined by frailty and insecurity as well as by courage and strength. Davis traces Wayne’s story from its beginnings in Winterset, Iowa, to his death in 1979. This is not a story of instant fame: only after a decade in budget westerns did Wayne receive serious consideration, for his performance in John Ford’s 1939 film Stagecoach. From that point on, his skills and popularity grew as he appeared in such classics as Fort Apache, Red River, She Wore a Yellow Ribbon, The Quiet Man, The Searches, The Man who Shot Liberty Valance, and True Grit. A man’s ideal more than a woman’s, Wayne earned his popularity without becoming either a great actor or a sex symbol. In all his films, whatever the character, John Wayne portrayed John Wayne, a persona he created for himself: the tough, gritty loner whose mission was to uphold the frontier’s--and the nation’s--traditional values. To depict the different facets of Wayne’s life and career, Davis draws on a range of primary and secondary sources, most notably exclusive interviews with the people who knew Wayne well, including the actor’s costar Maureen O’Hara and his widow, Pilar Wayne. The result is a well-balanced, highly engaging portrait of a man whose private identity was eventually overshadowed by his screen persona--until he came to represent America itself.
NEW YORK TIMES BESTSELLER The “paradigm-influencing” book (Christianity Today) that is fundamentally transforming our understanding of white evangelicalism in America. Jesus and John Wayne is a sweeping, revisionist history of the last seventy-five years of white evangelicalism, revealing how evangelicals have worked to replace the Jesus of the Gospels with an idol of rugged masculinity and Christian nationalism—or in the words of one modern chaplain, with “a spiritual badass.” As acclaimed scholar Kristin Du Mez explains, the key to understanding this transformation is to recognize the centrality of popular culture in contemporary American evangelicalism. Many of today’s evangelicals might not be theologically astute, but they know their VeggieTales, they’ve read John Eldredge’s Wild at Heart, and they learned about purity before they learned about sex—and they have a silver ring to prove it. Evangelical books, films, music, clothing, and merchandise shape the beliefs of millions. And evangelical culture is teeming with muscular heroes—mythical warriors and rugged soldiers, men like Oliver North, Ronald Reagan, Mel Gibson, and the Duck Dynasty clan, who assert white masculine power in defense of “Christian America.” Chief among these evangelical legends is John Wayne, an icon of a lost time when men were uncowed by political correctness, unafraid to tell it like it was, and did what needed to be done. Challenging the commonly held assumption that the “moral majority” backed Donald Trump in 2016 and 2020 for purely pragmatic reasons, Du Mez reveals that Trump in fact represented the fulfillment, rather than the betrayal, of white evangelicals’ most deeply held values: patriarchy, authoritarian rule, aggressive foreign policy, fear of Islam, ambivalence toward #MeToo, and opposition to Black Lives Matter and the LGBTQ community. A much-needed reexamination of perhaps the most influential subculture in this country, Jesus and John Wayne shows that, far from adhering to biblical principles, modern white evangelicals have remade their faith, with enduring consequences for all Americans.
References to western movies scattered over some 250 works by more than 130 authors constitute the subject matter of this book, arranged in an encyclopedic format. The entries are distributed among western movies, television series, big screen and television actors, western writers, directors and miscellaneous topics related to the genre. The data cover films from The Great Train Robbery (1903) to No Country for Old Men (2007) and the entries include many western film milestones (from The Aryan through Shane to Unforgiven), television classics (Gunsmoke, Bonanza) and great screen cowboys of both "A" and "B" productions.
At the time of Marcus Dupree's birth, when Deep South racism was about to crest and shatter against the Civil Rights Movement, Willie Morris journeyed north in a circular transit peculiar to southern writers. His memoir of those years, North Toward Home, became a modern classic. In The Courting of Marcus Dupree he turned again home to Mississippi to write about the small town of Philadelphia and its favorite son, a black high-school quarterback. In Marcus Dupree, Morris found a living emblem of that baroque strain in the American character called "southern." Beginning on the summer practice fields, Morris follows Marcus Dupree through each game of his senior varsity year. He talks with the Dupree family, the college recruiters, the coach and the school principal, some of the teachers and townspeople, and, of course, with the young man himself. As the season progresses and the seventeen-year-old Dupree attracts a degree of national attention to Philadelphia neither known nor endured since "the Troubles" of the early sixties, these conversations take on a wider significance. Willie Morris has created more than a spectator's journal. He writes here of his repatriation to a land and a people who have recovered something that fear and misdirected loyalties had once eclipsed. The result is a fascinating, unusual, and even topical work that tells a story richer than its apparent subject, for it brings the whole of the eighties South, with all its distinctive resonances, to life.
How many lesbians can dance on the head of a pin? Kinky Friedman sure as hell doesn't know, but he's learning exactly how many it takes to send the geriatric plaster tumbling from the ceiling of his downtown New York loft. The culprit is one Winnie Katz, man-hating proprietress of a lesbian dance troupe that thunders daily through his waking dreams. And when Winnie won't even give it enough of a rest to let Kinky patch the hole, our hero, lost in a blue-gray haze of Irish whiskey and cigar smoke, takes drastic action. He pens an anonymous, threatening note, hoping -- as only one lost in an alcohol-soaked fantasy can hope -- to then step in as "Ace Private Big Dick" Friedman, and save the day, thus earning the undying gratitude of Ms. Winnie. Besides, just as Sherlock Holmes had his Watson, the Kinkster needs a suitable sidekick, and what better test? He calls on each of his Village Irregulars to solve the case: reporter Mike McGovern; Dylan look-alike Ratso Sloman; investigator Steve Rambam; and his own lady love, the delicious Stephanie Dupont. But things get dicey when the bogus death threat turns all too real, and suddenly Kinky and his Keystone crime fighters find themselves dancing -- none too daintily -- for their lives.
Alfred Hitchcock's classic film Rear Window gets an affectionate kick in the butt in this homage from master crime writer, philosopher, and equal-opportunity offender Kinky Friedman. It's a case of malaria versus murder when private dick extraordinaire Kinky Friedman comes down with a tropical disease, in the jungle known as New York City, and is confined to his loft on Vandam Street in lower Manhattan, a prisoner in his own home with only his cat and black puppet head as company (neither of whom are great conversationalists). With little to do but stare out the window in between bedridden bouts of fever and hallucinations, Kinky calls on assistance from the stalwart Village Irregulars, who proceed to dish out their own uniquely skewed brand of tea and sympathy, turning the loft into a virtual Mardi Gras of confusion and drunken debauchery. Suffering almost as much from company overload as from his fever, Kinky welcomes a rare moment of calm as he finds himself once again alone in his loft. Resuming his position at the kitchen window, he spots a pretty young woman in an apartment across the street. What he hopes might be titillating turns terrifying, however, as a man joins the woman and proceeds to attack her. Sure that he's witnessed a crime, Kinky calls in the cops, but, upon investigating his claim, they can find neither a victim nor an apartment across the street. In addition, no one else saw or heard anything that would ndicate a crime had taken place. Was it foul play or merely a fevered dream? Convinced that their friend is about to slip off into the land of eternal slumber, the Village Irregulars increase their vigilance and in the process raise the Kinkster's irritability level to an all-time high. Not to be deterred, however, Kinky sticks to his story and is rewarded when a few days later he sees the man in the apartment again, but this time with a gun. Outrageous, audacious, and ingeniously crafted, The Prisoner of Vandam Street is vintage Kinky: irreverent, clever, and full of the hardened philosophy and mordant wit that has earned him a vast and devoted readership. But what more would you expect from the writer The New York Times has called "The world's funniest, bawdiest, and most politically incorrect country music singer turned mystery writer"?
Stirring Prose: Cooking with Texas Authors is a delightfully revealing look at some of Texas's best writers. Initially conceived as a Who's Who of Texas authors, Deborah Douglas quickly realized that asking authors to write about their favorite recipes freed them from "the big toe-digging constraints of having to talk directly about themselves. The resulting off-center reflections are brilliant slices of their personalities and their writing styles." A traditional cookbook this is not. Each author contributed to Stirring Prose in a personal, distinctive way. Billy Porterfield reveals his fantasies about a voluptuous restaurant owner and a dream-enhanced recipe for "game hen fricassee with a French New Guinea twist." Sunny Nash gives us an enticing snapshot of her grandmother, Bigmama, and divulges the secret to beautiful skin with Bigmama's Mysterious Rose Water Splash. And John Erickson shares his Bachelor Cowboy's Delight, the meal he eats over and over when his wife and children are out of town, and which consists of steak, lettuce salad, and green peas. Robert Flynn, Liz Carpenter, Elmer Kelton, and thirty-three others also share their recipes and food stories. Some of these recipes, such as Dr. [Larry L.] King's Asian Flu Hot Liquid Life-Saver, almost beg for a "do not try this at home" warning. Others, such as Cindy Bonner's Bohemian Kolaches and Clay Reynolds's Tex-Mex Breakfast, will inspire readers to start cooking. All are enticing for their tasty prose. Each recipe is accompanied by a photograph, a publication list, and an engaging, personalized introduction by Douglas, herself a fine writer, funny and charming. Although not an exhaustive collection of Texas writers, Stirring Prose: Cooking with Texas Authors is a tantalizing peek at thirty-nine talented Texas writers and their work.
Southern music historian Michael Buffalo Smith presents a series of interviews with some of country music's biggest stars, assembled from his archive of over 15 years of conversations. From Cowboy Jack Clement to Bobby Bare, Jerry Reed to Shooter Jennings, the volume is filled to the rim with country music history, stories and photographs.
Kinky Friedman has always proven himself to be a master of the offbeat and irreverent, and still manages to pull off a helluva whodunit in the process. Now the Kinkster may have met his match in this superbly crafted, fiendishly clever tale of a murderer who's methodically killing off unsuspecting Manhattan men. Gallingly, all clues point toward Kinky. Greenwich Village is the setting for Ten Little New Yorkers, a tale of murder and mayhem as only Friedman can warble it and featuring his usual suspects, including Ratso -- Dr. Watson to Kinky's singular Sherlock Holmes. As the clues and bodies pile up and the cops strong-arm Kinky as their man, he has to jump through hoops to find the real killer, all the while maintaining his outrage and, of course, his innocence. The murderer may be someone close to Kinky, which leads to a shocker of an ending that will surely take Kinky devotees completely by surprise. With a wink and a nod to Dame Agatha (as in Christie), after which all resemblance to those classic mysteries fades, this is one of Friedman's most complex and irresistible page-turners yet. Cunningly tentous issues of life, death, guilt, innocence, love, loss, and the danger of false confessions, this is Kinky Friedman at his wily, suspenseful, and sacrilegious best.