Vor seinem Colt hatte selbst der Teufel Respekt!" (Mark Twain) Der Lieblingssatz des berühmten US Marshals: "Abenteuer? Ich habe sie nie gesucht. Weiß der Teufel wie es kam, dass sie immer dort waren, wohin ich ritt." Diese Romane müssen Sie als Western-Fan einfach lesen! Der große Fight gegen die Galgenmänner war vorüber. Die Stadt Tombstone, die von der gefährlichen Bande des verräterischen Sheriffs Cas Larkin so lange und so hart bedrängt worden war, konnte wieder aufatmen. Nachdem sich das Leben in der Westernstadt wieder normalisiert hatte, entschloß sich Wyatt Earp, nach Dodge zurückzureiten. Luke Short, der viele Monate zusammen mit ihm und dem Georgier Holliday gegen die Bande gekämpft hatte, war längst hinüber nach Texas geritten. Der Mayor John Clum war nicht sehr glücklich gewesen, als der riesige Tex ihm den Sheriffsstern zurückgegeben hatte; denn einen solchen Mann hätte Clum in Tombstone gern ständig behalten. Am Morgen, an dem der Marshal die Stadt verlassen wollte, stand er unten in Nellie Cashmans Hotel und verabschiedete sich von der dunkeläugigen Hotelinhaberin. »Werden Sie einmal wieder nach Tombstone kommen?« Die bange Frage kam unsicher von den Lippen der Frau. Der Missourier lachte jungenhaft. »Natürlich, Miß Nellie, ich werde bald wiederkommen. Scheint es doch so, daß ich von Tombstone nicht lassen kann.« Und obgleich er es diesmal gar nicht sonderlich ernst gemeint hatte, sollten sich seine Worte schneller erfüllen, als er es an diesem Tag selbst für möglich gehalten hatte. Er reichte der Frau die Hand, ging dann schnell hinaus, wo der weißhaarige Neger Sam den aufgesattelten Falbhengst schon am Zügel hielt. Wyatt stieg auf, winkte noch einmal kurz und ritt dann die Gasse hinauf zur Mainstreet. Es war kurz nach neun Uhr am Vormittag. Wyatt blickte zum Crystal Palace hinüber, hielt einen Augenblick sein Pferd an und blickte die Straße hinunter, wo unten an der Ecke
Vor seinem Colt hatte selbst der Teufel Respekt!" (Mark Twain) Der Lieblingssatz des berühmten US Marshals: "Abenteuer? Ich habe sie nie gesucht. Weiß der Teufel wie es kam, dass sie immer dort waren, wohin ich ritt." Diese Romane müssen Sie als Western-Fan einfach lesen! Es war am späten Nachmittag, als sie die Stadt erreichten. Flimmernd lag die Hitze über den graubraunen Häusern Tombstones und waberte in den Straßen und Gassen. Wyatt Earp, Doc Holliday und Luke Short hatten sich auf der Pferdewechselstation Harpersville aufgehalten, wo in der vergangenen Nacht zwei Galgenmänner aufgetaucht waren. Trotz größter Bemühungen hatte der Marshal keine Spur von den Banditen finden können. Der alte Stationshalter hatte die Reiter nur flüchtig sehen können, und dementsprechend war seine Beschreibung von ihnen, er wußte auch nicht, in welche Richtung sie sich gewandt hatten. Fast schnurgerade jedoch zog sich die unsichtbare Spur der Bande vom Rio Grande del Norte bis in die alte Silberstadt Tombstone. Hatte sich der Big Boß, der gefährliche Anführer der Galgenmännerbande, die in den Südweststaaten auch unter der Bezeichnung Maskenmänner oder Graugesichter berüchtigt war, wieder hierher in die heißeste Ecke Arizonas zurückgezogen? Wie ein Gespenst ritt der Graue Chief durch das Land. Und mit der gleichen großen Schnelligkeit, mit der er immer wieder neue Gefolgsleute aus dem Boden zu stampfen schien, Menschen, die für ihn in die Sättel stiegen, richtete er Unheil an. Der Marshal war schon in El Paso das Gefühl nicht losgeworden, daß der gefährliche Desperado nach Tombstone geritten sein könnte. Jetzt lag die staubige Kistenholzstadt in ihrer ganzen Armseligkeit vor den Reitern. Aus der Ferne war sie nichts weiter als eine groß gewordene Ansiedlung zumeist eingeschossiger Häuser, die vor dem Hintergrund der Blauen Berge einen völlig harmlosen, ja, nichtssagenden Eindruck machten. Und dennoch war es in jeder Beziehung eine glutheiße Stadt, dieses Tombstone! Als sie
Vor seinem Colt hatte selbst der Teufel Respekt!" (Mark Twain) Der Lieblingssatz des berühmten US Marshals: "Abenteuer? Ich habe sie nie gesucht. Weiß der Teufel wie es kam, dass sie immer dort waren, wohin ich ritt." Diese Romane müssen Sie als Western-Fan einfach lesen! Dieses Land, das sonst so leicht von nichts zu erschüttern war, und das auch viel zu groß und zu weit war, als daß es von irgend etwas zu erschüttern gewesen wäre, hatte seine Sensation: der große Desperado Clay Allison hatte im texanischen Straflager Fort Worth versucht, den Dandy-Schießer Jonny Ringo zu befreien. Sein Versuch war zwar fehlgeschlagen, da der berühmte Staaten-Marshal Wyatt Earp ihn hatte vereiteln können. Aber Clay Allison war geflohen. Der Hasardeur hatte den Marshal zum Duell gefordert. Es war ein fürchterlicher Kugelwechsel gewesen, bei dem auch der Marshal verletzt und Clay Allison zweimal ziemlich schwer blessiert worden war. Und dann hatte er sich davongemacht. Wyatt Earp und Doc Holliday waren ihm gefolgt. Aber der gerissene Mestize hatte es verstanden, seine Spur zu verwischen. Der Marshal, der anfangs noch geglaubt hatte, daß der Bravo sich weiter in der Gegend aufhielt, hatte Dallas und auch Fort Worth nach ihm abgesucht. Ohne Erfolg. Erst nach drei Tagen heißen Suchens gab er es auf, da er nun überzeugt war, daß sich Clay Allison in Richtung Nordwesten abgesetzt hatte. Entweder ritt er nun nach Dodge City hinauf, in die Stadt des Marshals, oder aber heim nach La Punta in seine eigene Stadt, oben im Las Animas County an der Grenze Colorados nach New Mexico. Die beiden Westmänner ritten nach Kansas hinauf, und als sie Dodge City erreichten, atmete der Missourier auf, als er feststellen konnte, daß der Desperado seine Stadt nicht aufgesucht zu haben schien. Nach ganz kurzem Aufenthalt setzte sich der Missourier wieder in den Sattel, um hinüber nach Colorado zu reiten. Ja, er wollte nach La Ponta, um Clay Allison in seinem eigenen Nest aufzusuchen. Das, was der Outlaw sich da unten in Fort Worth geleistet hatte, konnte nicht hingenommen werden. Es mußte hart gegen den Gesetzlosen aus La Punta durchgegriffen werden. Gerade weil es Clay Allison war! Ein Mann, den jeder Tramp zwischen den Bergen Montanas und dem Sand von Texas kannte. Es mußte ein Exempel statuiert werden.
Seeing Is Believing is a book that contains pictures and explanations which illustrates evidence for the existence of God. Seeing Is Believing is unique as it provides a visual aid to enable the reader to paint a thousand words from each picture. Each picture is supported by an apologetic that supports a Christian worldview. Seeing Is Believing aims to debunk atheist myths and help the reader see that Christianity is a belief supported by logic and historical evidence. Christianity is not just a belief; it is a relationship with the living God. The Bible says that the truth will set you free, and it is a sincere prayer that this book helps set many people free from their intellectual barriers against their Creator, who wants them to believe, receive, and become.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The 2015 theme for Manifest West’s annual anthology is “Western Weird.” The works in this collection reflect both myths and suspected truths about the part of the United States we call “the West.” But this year’s edition focuses entirely on the tradition of the strange. To borrow from Jeff VanderMeer’s definition for speculative fiction’s “New Weird,” this volume creates a new parallel genre for work that subverts the traditional romanticized ideas about place, playing with clichés about the West in order to put these elements to discomfiting, rather than consoling, ends.Topics included in this collection of poetry, fiction, and creative nonfiction range from the West’s numinous fascination with E.T., Bigfoot, and ghosts and its celebration of its indigenous fauna and deadly landscapes to its uncomfortable relationships with its own marginalized peoples and its unforgiving and sometimes violent traditions. The tone of these works ranges from light—even campy—to chilling, but all allow readers to gaze straight into the many faces of what makes the West a weird place.For the first time in the series, this volume includes solicited work as well as open submissions, including a number of established and award-winning writers and serving its mission by giving voice to brand-new writers.
Vor seinem Colt hatte selbst der Teufel Respekt!" (Mark Twain) Der Lieblingssatz des berühmten US Marshals: "Abenteuer? Ich habe sie nie gesucht. Weiß der Teufel wie es kam, dass sie immer dort waren, wohin ich ritt." Diese Romane müssen Sie als Western-Fan einfach lesen! Es war Abend geworden. Schweigend lag die Prärie unter einem flammenden Himmel, und in der Ferne schimmerte der große Strom. Immer dunkler wurde die Weide, und der einzelne Mann, der hinter einem Gesträuch stand und nach Süden blickte, vermochte jetzt die Rinder nur noch undeutlich zu unterscheiden. Arthur Billok war ein junger Mensch von dreiundzwanzig Jahren, der oben aus Topeka stammte und sich seit einiger Zeit hier unten in der Nähe von Dodge City am Arkansas aufhielt. Es war nichts Besonderes an diesem Arthur Billok. Er war mittelgroß, schlank, hatte breite kräftige Schultern und einen verhältnismäßig kleinen Schädel mit fliehender Stirn. Die Augen lagen tief in den Höhlen, die Nase war kurz, der Mund breit und aufgeworfen, vorspringend das Kinn. Er trug wie die Cowboys und hatte in einem breiten Waffengurt tief über dem rechten Oberschenkel einen großen achtunddreißiger Revolver stecken. Jahrelang hatte sich der Bursche oben in Topeka herumgetrieben, war dann nach Abilene gezogen, und als er auch da in den Schenken der Stadt nicht mehr tragbar war, gelangte er weiter hinunter nach Salina und von dort über Great Brend am Arkansas entlang nach Dodge City. Er hatte keinen sonderlich guten Ruf in der Stadt. Und das einzig Bemerkenswerte an ihm war die Tatsache, daß er der Bruder von Terence Billok war, von Terry, dem Schießer. Dieser Terence Billok, ein Mann von dreißig oder zweiunddreißig Jahren, war ein gefürchteter Revolverschwinger, der schon seit einem Jahrzehnt in ganz Kansas von sich reden machte. Bekannt wurde er eigentlich durch sein haarsträubendes Revolvergefecht mit Mike Sharon
This book works to complicate and push against common arguments that the Western from its inception is an anti-feminist genre. By focusing on representations of women professionals in Westerns, it shows that women in cinematic and televisual Westerns sometimes do acquire agency and empowerment in the private and public realms, despite our culture’s tendency to gender the former as feminine and the latter as solely masculine. The study reviews the relationship of these progressive Westerns to both explicit and latent feminist ideologies relevant to their times, as the films evolved from the 1930s to the twenty-first century.
What will be the future of social science? Where exactly do we stand, and where do we go from here? What kinds of problems should we be addressing, with what kinds of approaches and arguments? In Cognitive Dimensions of Social Science, Mark Turner offers an answer to these pressing questions: social science is headed toward convergence with cognitive science. Together they will give us a new and better approach to the study of what human beings are, what human beings do, what kind of mind they have, and how that mind developed over the history of the species. Turner, one of the originators of the cognitive scientific theory of conceptual integration, here explores how the application of that theory enriches the social scientific study of meaning, culture, identity, reason, choice, judgment, decision, innovation, and invention. About fifty thousand years ago, humans made a spectacular advance: they became cognitively modern. This development made possible the invention of the vast range of knowledge, practices, and institutions that social scientists try to explain. For Turner, the anchor of all social science - anthropology, political science, sociology, economics - must be the study of the cognitively modern human mind. In this book, Turner moves the study of those extraordinary mental powers to the center of social scientific research and analysis.
The book is a study of the evolving history of knowledge in the arts and sciences in the modern era – from 1648 through the present. Modernism is treated as an epoch with evolving disciplines whose articulated problems of a time and the inquiry methods to address them, develop in a coordinated manner, given a mutual awareness. When one organizes the development of knowledge over periods of years, and gives it an appellation such as “Modernism,” the organization of facts is guided by concepts and values discerned throughout these periods. These facts of knowledge development share sufficient understandings to be called an “era,” or an “epoch,” or other terms that insist on the shared aspects of those years. One can call such an effort a “metahistory,” in that what is tracked is not merely a knowledge that is political, economic, ideological, sociological, or scientific, but an overview that tracks the respective conceptual developments of the fields in how they have changed and augmented their problem formulations, inquiry methods, and explanatory conceptions over time.
Featuring more than 100 pages of never-before-seen material! The Harvey Award—nominated sensation that rocked the comics world–and left readers hanging in sheer suspense–is now a full-length graphic novel that finally carries the stunning Elk’s Run saga to its shocking conclusion. The town of Elk’s Ridge, West Virginia, was built on a dream: The dream of war-scarred Vietnam veterans to live in peace and harmony, in a place untouched by violence, crime, corruption, or greed. A living Norman Rockwell painting, governed by the most basic values and free of all things considered undesirable by its founders. It was supposed to be paradise. And for a while, it was. Over the years, some in Elk’s Ridge have grown restless. They fear their refuge has become a prison . . . or a tomb. And they yearn to do the forbidden: escape. But when one desperate bid for freedom ends in a tragic accident, a heinous act of mob justice suddenly tears the idyllic mask from this promised land and the evil its residents sought to keep out blooms from within. Now, as a deadly chain reaction of events threatens the future of Elk’s Ridge, its elders gird for battle against the real world. And a group of terrified teens prepare to make their own stand–against the people they once trusted and the only life they’ve ever known. Because there’s nothing left to do but fight or die. A chillingly lyrical tale, rendered in starkly beautiful, visceral artwork, Elk’s Run is an unforgettable and unrelentingly powerful graphic novel event not to be missed. With an introduction by Charlie Houston, author of Already Dead
The most comprehensive and interpretive study of the mining industry available to historians. . . . It is a book that will stand the test of time." -W. Turrentine Jackson, Technology and Culture "Mark Wyman's sympathetic account of the Western metal miners includes graphic details of their bitter struggle for unpaid wages, for industrial safety legislation, for corporate liability in the event of mine accidents and for workmen's compensation. . . . Throughout the book one finds the compassion and understanding that mark works in the best tradition of historical scholarship." -Milton Cantor, The Nation "Wyman has looked at miners in the larger context of American industrialization during the late 19th and early 20th centuries. In doing so, he has produced a stimulating, informative account of how this group of workingmen responded to changes in the work place brought on by changes in technology, corporate capitalism, and the shifting labor forces of the day." -James E. Fell, Jr., Pacific Northwest Quarterly "Wyman's compassionate and thoughtful study is an important contribution to the social history of western mining. Hard Rock Epic is also a significant addition to the literature on the process of industrialization. It amply demonstrates that no group in the American West was so deeply affected by the Industrial Revolution as the hard rock miners." -Jeffrey K. Stine, The Midwest Review "Hard Rock Epic is both a descriptive and analytical study of the impact of technology on the life of metalliferous miners of the West. It is thoroughly researched, drawing heavily upon primary sources and the most relevant recent scholarship concerning the hardrock men. The study is judicious and balanced. . . . [and] fits well into the growing body of scholarship on Western metal mining. Historians of labor and the American West will find this volume instructive and definite contribution to their fields of study." -George C. Suggs, Jr., The American Historical Review 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 1979. "The most comprehensive and interpretive study of the mining industry available to historians. . . . It is a book that will stand the test of time." -W. Turrentine Jackson, Technology and Culture "Mark Wyman's sympathetic account of the Western metal mine
Vor seinem Colt hatte selbst der Teufel Respekt!" (Mark Twain) Der Lieblingssatz des berühmten US Marshals: "Abenteuer? Ich habe sie nie gesucht. Weiß der Teufel wie es kam, dass sie immer dort waren, wohin ich ritt." Diese Romane müssen Sie als Western-Fan einfach lesen! Morgens klopfte es an die Tür Wyatt Earps. Es war Reverend John Walker, der Hausherr. Er sah den Marshal und Doc Holliday am Fenster stehen und die Straße durch die Gardine beobachten. "Guten Morgen", grüßte er. Die beiden erwiderten seinen Gruß. "Glauben Sie immer noch, daß etwas an Ihrer Vermutung ist?" forschte der Geistliche. Der Marshal zog die Schultern hoch und wandte den Blick nicht von der Straße.
Our understanding of the nature and processing of figurative language is central to several important issues in cognitive science, including the relationship of language and thought, how we process language, and how we comprehend abstract meaning. Over the past fifteen years, traditional approaches to these issues have been challenged by experimental psychologists, linguists, and other cognitive scientists interested in the structures of the mind and the processes that operate on them. In Figurative Language and Thought, internationally recognized experts in the field of figurative language, Albert Katz, Mark Turner, Raymond W. Gibbs Jr., and Cristina Cacciari, provide a coherent and focused debate on the subject. The book's authors discuss a variety of fundamental questions, including: What can figures of speech tell us about the structure of the conceptual system? If and how should we distinguish the literal from the nonliteral in our theories of language and thought? Are we primarily figurative thinkers and consequently figurative language users or the other way around? Why do we prefer to speak metaphorically in everyday conversation, when literal options may be available for use? Is metaphor the only vehicle through which we can understand abstract concepts? What role do cultural and social factors play in our comprehension of figurative language? These and related questions are raised and argued in an integrative look at the role of nonliteral language in cognition. This volume, a part of Counterpoints series, will be thought-provoking reading for a wide range of cognitive psychologists, linguists, and philosophers.
Mark Scarbrough has been searching for something his entire life. Whether it's his birth mother, true love, his purpose, or his sexual identity, Mark has been on a constant quest to find out who he really is, with the great Western texts as his steadfast companions. As a boy with his head constantly in a book, desperate to discover new worlds, he can hardly distinguish between their plots and his own reality. The child of strict Texan Evangelicals, Mark is taught by the Bible to fervently believe in the rapture and second coming and is thus moved to spend his teen years as a youth preacher in cowboy boots. At college, he discovers William Blake, who teaches him to fall in love with poems, lyrics--and his roommate Alex. Raised to believe that to be gay was to be a sinner, Mark is driven to the brink of madness and attempts suicide. Hoping to avoid books once and for all, Mark joins the seminary, where he meets his wife, Miranda. Neither the seminary nor the marriage stick, and Mark once again finds himself turning to his books for the sense of belonging he continues to seek...Bookmarked tells a deeply personal story through the lens of literature. An examination of one man's complicated, near-obsessive relationship with books, and how they shaped, molded, ruined and saved him, Bookmarked is about how we readers stash our secrets between jacket covers and how those secrets ultimately get told in the ways that the books themselves demand"--Back cover.
Take a trip beyond this Earth to explore the myths of The Mandalorian and uncover the anatomy of the newest space western in the Star Wars Universe. Star Wars dominates the film world. The combined box office revenue of the Star Wars movies equates to over $10 billion, making it the second highest-grossing film franchise of all time. But this franchise is no blaster from the past. Its fantastically successful films have now been followed by multiple television series set in that same galaxy far, far away. The franchise’s flagship television series, and likely the firmest fan favorite for some time to come, is The Mandalorian. Tracing the tale of the titular bounty hunter, traveling across the furthest reaches of that mythic galaxy, The Mandalorian has been greatly praised and highly acclaimed for creating characters with gravitas and originality, worlds with depth and impact, resulting in some of the best Star Wars content ever. Even though it’s set in deep space, The Mandalorian has as much in common with Western movies as it does with science fiction. Saloons. Bandits. “Gun” duels. Bounty hunters. Outlaws with a price on their heads. Space exploration as a “final frontier.” And a wild hero who doesn’t quite belong in a lawless part of the Galaxy after the fall of the Empire. The Science of The Mandalorian takes you on a badass journey with a mysterious, lone gunfighter in the outer reaches of the galaxy, where your beskar armor will protect you from many things, but not the sight of a small, green, carnivorous humanoid with big black eyes and mysterious powers. This is the way.
Award-winning writer of Wyatt Earp, An American Odyssey, winner of the 2020 Will Rogers Medallion Award, a 2019 Spur Award Finalist and an “Editor’s Choice” by The Historical Novel Society Clayton Jane, a war-weary ex-Confederate from Georgia, heads west to Wyoming, where he reconstructs his life as a ranch foreman and right-hand man for an English cattle baron. When the Englishman's sister, a promising Surrey painter, visits along with her husband and young son, the ranch hands soon learn that this reunion is more than a family gathering. The brother-in-law, who provided most of the investment money for the Rolling F Ranch, has come to take over the ownership and management. As the crew ponders its shift of loyalty to such a man, they begin to see signs that he is a wife-beater. When Clayton attempts to interfere in this suppressed spousal abuse, he finds himself in an awkward position with his present employer and future employer. His dedication to protecting this headstrong artistic woman leads to a surprising bond between ranch foreman and celebrated painter, a relationship that totters between mutual respect and romance. With these complications in place, Clayton is treated to a new level of troubles. A Pinkerton detective is sent to Laramie to investigate anonymous threats from a would-be president-assassin. President Grant is due to come into town on a political tour, and Clayton an ex-Southerner finds himself on the Pinkerton's list of suspects. Praise for Mark Warren “Woven with clarity and colorful prose, Warren leads readers on an odyssey . . .” —True West Magazine on Promised Land “A good book offers the ultimate escape . . . armchair travel to those wild places of the imagination. Warren’s book took me to places I had previously not expected to visit, but I’m really glad I went there. —New Zealand Booklovers on Promised Land "Warren's novel paints a vivid picture . . . and its colorful similes will put a smile on any genre-fiction lover's face." —Booklist on Born to the Badge
A colorful look at our history, architecture, waterfront, and everything else that makes Western New York an amazing place to live, work, and play from Dr. Mark Donnelly, author of: The Fine Art of Capturing Buffalo, Frozen Assets, and Statuesque Buffalo.
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