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With gusts of wind fanning it roughly, the flame rose fast. Harrigan made other journeys to the rotten stump and wrenched away great chunks of bark and wood. He came back and piled them on the fire. It towered high, the upper tongues twisting among the branches of the tree. They laid Kate Malone between the windbreak and the fire. In a short time her trembling ceased; she turned her face to the blaze and slept. Max Brand was one of the pen names used by Frederick Schiller Faust (May 29, 1892 - May 12, 1944). Faust was an American fiction author best known for his thoughtful and literary Westerns. In the 1910's he began selling stories to pulp fiction magazines. His love of mythology is evident in his fiction writings. An excerpt from this classic Max Brand western reads, "With gusts of wind fanning it roughly, the flame rose fast. Harrigan made other journeys to the rotten stump and wrenched away great chunks of bark and wood. He came back and piled them on the fire. It towered high, the upper tongues twisting among the branches of the tree. They laid Kate Malone between the windbreak and the fire. In a short time her trembling ceased; she turned her face to the blaze and slept.
Alcatraz is the story of a horse. Not a gentle, trustworthy horse like Black Beauty, but a ferocious, man-killing creature of the prairie. His reluctance to be tamed is more under-. standable than the yearnings of the cowboys to tame him ; even the inducement that Marianne Jordan, the wealthy rancheress, " goes with " the horse scarcely explains their zeal. The narrative is vigorous and exciting, however, and if real horses have a tithe of the intelligence credited to Alcatraz a good film might be made of the book.An American Western Classic! The west wind came over the Eagles, gathered purity from the evergreen slopes of the mountains, blew across the foothills and league wide fields, and came at length to the stallion with a touch of coolness and enchanting scents of far-off things. Just as his head went up, just as the breeze lifted mane and tail, Marianne Jordan halted her pony and drew in her breath with pleasure.
Extract : It was the big central taproot which baffled them. They had hewed easily through the great side roots, large as branches, covered with soft brown bark; they had dug down and cut through the forest of tender small roots below; but when they had passed the main body of the stump and worked under it, they found that their hole around the trunk was not large enough in diameter to enable them to reach to the taproot and cut through it. They could only reach it feebly with the hatchet, fraying it, but there was no chance for a free swing to sever the tough wood. Instead of widening the hole at once, they kept laboring at the root, working the stump back and forth, as though they hoped to crystallize that stubborn taproot and snap it like a wire. Still it held and defied them. They laid hold of it together and tugged with a grunt; something tore beneath that effort, but the stump held, and upward progress ceased. They stopped, too tired for profanity, and gazed down the mountainside after the manner of baffled men, who look far off from the thing that troubles them. They could tell by the trees that it was a high altitude. There were no cottonwoods, though the cottonwoods will follow a stream for more than a mile above sea level. Far below them a pale mist obscured the beautiful silver spruce which had reached their upward limit.
From their domestication to their taboo, the role of pigs in the ancient Near East is one of the most complicated topics in archaeology. Rejecting monocausal explanations, this book adopts an evolutionary approach and uses zooarchaeology and texts to unravel the cultural significance of swine from the Paleolithic to today. Five major themes emerge: The domestication of the pig from wild boar in the Pre-Pottery Neolithic, the unique roles that pigs developed in agricultural economies before and after the development of complex societies, the raising of swine in cities, the shifting ritual roles of pigs, and the formation and development of the pork taboo in Judaism and, later, Islam. The development of this taboo has inspired much academic debate. I argue that the well-known taboo described in Leviticus reflects the intention of the Biblical writers to develop an image of a glorious pastoral ancestry for a heroic Israelite past, something they achieved by tying together existing food traditions. These included a taboo on pigs, which was developed early in the Iron Age during conflicts between Israelites and Philistines and was revitalized by the Biblical writers. The taboo persisted and mutated, gaining strength over the next two and a half millennia. In particular, the pig taboo became a point of contention in the ethno-political struggles between Jewish and Greco-Roman cultures in the Levant. Ultimately, it was this continued evolution within the context of ethnic and religious politics that gave the pig taboo the strength it has today"--
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