Gathers a selection of the National Book award nominated author's short stories, excerpts, and essays reflecting his life, career, and recurring literary themes
Over the decades I've developed the impression that John Graves is the most honest writer in America, and also one of the best. Here is further evidence." --Jim Harrison, author of Legends of the Fall My Dogs and Guns pairs two memoirs--two halves of an outdoorsman's heart. First is "Blue and Some Other Dogs," the story about Graves's favorite Basque-Australian sheep dog, Blue. Second is "Guns of a Lifetime" which is a nostalgic chronicle of the guns Graves has owned, beginning with a "rusted and cylinderless" revolver. "So here are the stories," Graves writes. "They are not all 'nice' tales in contemporary terms. Political correctness, as presently defined, may be perpetrated here and there, though I hope no parts will seem like the maunderings of a Deep South redneck. But if they do, the hell with it. I am too old to fret about such matters." It is delightful, hardy prose from a treasure of a writer. Skyhorse Publishing is proud to publish a broad range of books for hunters and firearms enthusiasts. We publish books about shotguns, rifles, handguns, target shooting, gun collecting, self-defense, archery, ammunition, knives, gunsmithing, gun repair, and wilderness survival. We publish books on deer hunting, big game hunting, small game hunting, wing shooting, turkey hunting, deer stands, duck blinds, bowhunting, wing shooting, hunting dogs, and more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to publishing books on subjects that are sometimes overlooked by other publishers and to authors whose work might not otherwise find a home.
The two-time National Book Award finalist and author of Goodbye to a River ruminates over what an “unmagnificent” Texas homestead has meant to him. “A kind of homemade book—imperfect like a handmade thing, a prize. It’s a galloping, spontaneous book, on occasion within whooping distance of that greatest and sweetest of country books, Ivan Turgenev’s A Sportsman’s Notebook.” —Edward Hoagland, The New York Times Book Review “His subjects are trees and brush, hired help, fences, soil, armadillos and other wildlife, flood and drought, local history, sheep and goats . . . and they come to us reshaped and reenlivened by his agreeably individual (and sometimes cranky) notions.” —The New Yorker “If Goodbye to a River was in some sense Graves’s Odyssey, this book is his [version of Hesiod’s] Works and Days. It is partly a book about work, partly a book about nature, but mostly a book about belonging. In the end John Graves has learned to belong to his patch of land so thoroughly that at moments he can sense in himself a unity with medieval peasants and Sumerian farmers, working with their fields by the Tigris.” —Larry McMurtry, The Washington Post Book World “Hard Scrabble is hard pastoral of the kind we have learned to recognize in Wordsworth, Frost, Hemingway, and Faulkner. It celebrates life in accommodation with a piece of the ‘given’ creation, a recalcitrant four hundred or so acres of Texas cedar brake, old field, and creek bottom, which will require of any genuine resident all the character he can muster.” —Southwest Review
“Another fine, reflective, anecdotal look at rural Texas.” —New Yorker “Graves writes eloquently about a countryman’s concerns. There's not a false note in the book.” —Boston Globe “Like the unmortared stone fences of Graves’s native hill country, From a Limestone Ledge is constructed of bits and pieces never designed to fit together, yet made to achieve a unity that is more enduring than the sum of its individual parts by the hands of a master craftsman.” —Southwestern Historical Quarterly “The beauty of his work endures, and there is a greater pride in Texans’ hearts for their home, I think, than there would be if he hadn’t written the books he did.” —Rick Bass, Garden & Gun “In describing the particulars of his surroundings, Graves often was describing the world in microcosm and the place and plight of humankind in it.” —Bryan Woolley, Dallas Morning News
In the 1950s, a series of dams was proposed along the Brazos River in north-central Texas. For John Graves, this project meant that if the stream’s regimen was thus changed, the beautiful and sometimes brutal surrounding countryside would also change, as would the lives of the people whose rugged ancestors had eked out an existence there. Graves therefore decided to visit that stretch of the river, which he had known intimately as a youth. Goodbye to a River is his account of that farewell canoe voyage. As he braves rapids and fatigue and the fickle autumn weather, he muses upon old blood feuds of the region and violent skirmishes with native tribes, and retells wild stories of courage and cowardice and deceit that shaped both the river’s people and the land during frontier times and later. Nearly half a century after its initial publication, Goodbye to a River is a true American classic, a vivid narrative about an exciting journey and a powerful tribute to a vanishing way of life and its ever-changing natural environment.
In Myself and Strangers, John Graves, the highly regarded author of Goodbye to a River and other classic works, recalls the decade-long apprenticeship in which he found his voice as a writer. He recounts his wanderings from Texas to Mexico, New York, and Spain, where, like Hemingway, he hoped to find the material with which to write books that mattered. With characteristic honesty, Graves admits the false starts and dead ends that dogged much of his writing, along with the exhilaration he felt when the words finally flowed. He frankly describes both the pleasures and the restlessness of expatriate life in Europe after World War II—as well as his surprising discovery, when family obligations eventually called him home to Texas, that the years away had prepared him to embrace his native land as the fit subject matter for his writing. For anyone seeking the springs that fed John Graves' best-loved books, this memoir of apprenticeship will be genuinely rewarding.
Limestone hills, cold spring-fed streams, live oaks and cedar, old German towns—the Texas Hill Country may well be the most beloved region of the state. Unlike West Texas with its dramatic expanses of plains and sky, or the eastern Piney Woods in their lush fecundity, the Hill Country never overwhelms. Its intimate landscapes of rolling hills, fields of wildflowers, and cypress-shaded rivers impart a peace and serenity that draws the urban-weary from across Texas and even beyond. In this volume, two of the state’s most respected artists join their talents to create an unsurpassed portrait of the Texas Hill Country. With an unerring eye for landscape photography, Wyman Meinzer distills the visual essence of the Hill Country—long vistas of oak-and-cedar-covered hills, clear streams running over rocks, bluebonnets turning fields into lapis-colored seas. His photographs also go beyond the familiar to reveal surprising contrasts and juxtapositions—prickly pear cactus delicately frosted with ice, black-eyed susans growing among granite boulders. With an equally true feeling for what makes the Hill Country distinct, John Graves writes about the land and its people and how they have shaped one another. He pays tribute to the tenacious German pioneers who turned unpromising land into farms and ranches, the Anglo-American “cedar-choppers” who harvested the region’s pest plant, and even the generations of vacationers who have found solace in the Hill Country. As Graves observes, “since well over a century ago, the region has been a sort of reference point for natives of other parts of the state, and mention of it usually brings smiles and nods.” Together, John Graves and Wyman Meinzer once again demonstrate that they are the foremost artists of the Texas landscape. The portrait they create in images and words is as close as you can come to the heart of the Hill Country without being there.
With a bow to recent masters like Justice, Wright, and even Nemerov, John Morris's poems explore the uncertain footing of middle age. The characters we meet are clear-eyed, straight-faced, occasionally nonplussed. They're uncertain of their allegiance to either comfort or anguish. And their ciphering of the debts and credits of their days creates little dramas we can recognize as something like our own. Cars are "rust-colored, late-modeled;" poems "twist into failing origami;" and an old high school yearbook "needs a vacation. It needs a drink." The lines dissect moments and events as if each implication must be given its due. Sentences surprise and involve us, somehow intuiting their own inevitable ends. Richard Terrill, author of Fakebook and Coming Late to Rachmaninoff This is the new West--harsh sunlight shining onto office complexes and strip malls and--just past the purview of respectable people--onto pawn shops, Indian casinos and meth labs too. These elegiac poems describe the loneliness of eking out a decent life in an inhospitable context, keeping lassitude at bay, the depleted sense your recent last shot at joy, your grief over someone's death by natural causes, the meted-out unhappiness that is our human portion, constitute problems too small, too merely ordinary, to matter. These poems depict transgression and desperation in local headlines but also the transgression and desperation we find as we examine our own quiet, obedient lives. Even while Noise and Stories mines this vein of mute despair, it celebrates life's constancy, its "motion, texture, smack, & murmur." Debra Monroe, author of Newfangled and Shambles John Morris is a poet of great versatility, sensitivity, and perception. He takes a moment from our lives, crystallizes it into forever. This is lovely work. Rilla Askew, author of Fire In Beulah and Harpsong John Graves Morris' first collection of poems is a work of many years where music and image clock one another for all the surprise and sharp edges that poetic voice admits to-these sometimes elevated and lyric voices are both true and memorable. What a wonderful volume. Norman Dubie, author of Ordinary Mornings of a Coliseum and The Insomniac Liar of Topo
Austin, 1981. 29p., boards, oblong 9x8. An account of a love affair between the author and his crossbred sheep dog, whose special personality, loyalty, and courage made him an unforgettable companion. If you love dogs or ever lost one, you'll like this poignant story. It first appeared in slightly different form in Texas Monthly. Signed by John Graves.
Although he calls it a self-portrait, this delightful memoir is not so much about the distinguished Texas author himself as about people & places that stand out in his memory, all of them in one way or another associated with birds. The wood engravings that head each chapter are by artist John DePol, a master of this rare print medium. A book to be treasured by bibliophiles & bird lovers as well as Graves fans, SELF-PORTRAIT, WITH BIRDS has been published in two hand-bound editions. Both are printed by W. Thomas Taylor & have bindings designed by Priscilla Spitler of BookLab. Winner of the 1992 Hertzog National Award for book design, SELF-PORTRAIT, WITH BIRDS also received the Texas Institute of Letters' Stanley Marcus Award for book design. Slipcased edition of 300 copies, signed by the author, is quarter bound in leather over paper boards printed with DePol engravings. Priced at $195, plus $4.50 shipping (Texas residents add $16.09 sales tax). Deluxe edition of 30 copies, signed by the author, artist, printer & bookbinder, is fully bound in 23k gold stamped leather, has end papers printed with DePol engravings, & is encased in a clamshell box. Priced at $600, plus $10 shipping (Texas residents add $49.50 sales tax). Both editions are available from Chama Press Service Dept., 1366 Round Table, Dallas, TX 75247. Phone 1-800-922-2747. FAX: 214-630-1382.
A thoroughly researched and extensively documented look at race relations in Arkansas druing the forty years after the Civil War, Town and Country focuses on the gradual adjustment of black and white Arkansans to the new status of the freedman, in both society and law, after generations of practicing the racial etiquette of slavery. John Graves examines the influences of the established agrarian culture on the developing racial practices of the urban centers, where many blacks living in the towns were able to gain prominence as doctors, lawyers, successful entrepreneurs, and political leaders. Despite the tension, conflict, and disputes within and between the voice of the government and the voice of the people in an arduous journey toward compromise, Arkansas was one of the most progressive states during Reconstruction in desegregating its people. Town and Country makes a significant contribution to the history of the postwar South and its complex engagement with the race issue.
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