Distilled in Texas and the Delta, a straight-no-chaser crime novel set around the legendary Dixie Mafia Manfred Eugene "Hog" Webern, a retired Dallas County deputy sheriff, is talked into going undercover in Biloxi, Mississippi, in a multistate effort to nail a group of traveling Southern criminals who have been tagged by the press with the lurid name "Dixie Mafia." After making contact with the gang's nominal leader, the notorious Jasper Sparks, Webern begins to worm his way into the group's confidence. He also meets and becomes involved with an old friend of Sparks, the mysterious Nell Bigelow, a former assistant federal prosecutor whose daddy "owns half the Delta." Having gained the gang's trust, Webern soon learns that the score being planned is the massive robbery of a wintering carnival of an entire year's receipts. Joining in planning the job, he meets such well-known hijackers as Slops Moline, a Charleston, South Carolina, killer and armed robber; Lardass Collins, the country's premier car thief; Tom-Tom Reed, one of the world's most skilled safecrackers; and the infamous Raymond "Hardhead" Weller, an Alabama-born moonshiner who has pulled off more than two dozen high-profile contract killings in his seventy years. As the story develops, Webern is drawn into a maelstrom of robbery, mayhem, and senseless violence that threatens to engulf his very being. And before the final curtain falls on The Sweet and the Dead, we learn that in the murky world of Southern professional crime, nothing is ever quite what it seems to be.
This is a full-length study of one of the most prolific & controversial polemical authors of the 17th-century, Peter Heylyn. The book provides a detailed analysis of the ways in which Laudian & royalist polemical literature was created, tracing continuities & changes in a single corpus of writings from 1621 through to 1662.
With an almost encyclopedic knowledge of the historic underbelly of Galveston and a ringing feel for dialogue, Long Fall From Heaven carries us along on a sordid yet seamless narrative of murderous mayhem." —Craig Johnson, author of the Walt Longmire Mysteries Cueball Boland and Micah Lanscomb—both ex-cops with troubled pasts—stumble into the path of a serial killer. The murderer leads them into the dark history of Galveston when the city was Texas’ Sin City. The killer has roots sunk deep into that history, but the FBI and the old Galveston families don’t want Cueball and Micah to solve the crimes. Listen closely. There’s an echo of another serial killer who stalked the city back during World War II. George Wier writes like he talks: Texan. In the 1990s he befriended the older novelist Milton T. Burton and the two became close friends. In 1998, Burton, worried about his health, told Wier this story and asked him to be his collaborator and principal writer. The two friends talked back and forth, and Wier wrote the novel. Meanwhile, impatient with the publishing industry, George Wier has very successfully e-published his Bill Travis Mystery Series. He plays classical violin and country fiddle, dabbles in art and photography, and is a born promoter of all that he does. This is his first trade-published novel. He lives in Austin, Texas with his wife Sallie. Milton T. Burton (1947-2011) authored four crime novels published by Minotaur/Thomas Dunne. Like Wier, Burton was a lifelong Texan who breathed the Texas lingo. Burton had been variously a cattleman, a political consultant, and a college history teacher. A cantankerous but generous man, he liked writing and he liked talking to his friends, especially George Wier. He died in December 2011.
Illuminates the development of Hemingway’s themes and techniques and his future course as a stylist and writer. In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind. Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile. The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
England's Second Reformation reassesses the religious upheavals of mid-seventeenth-century England, situating them within the broader history of the Church of England and its earlier Reformations. Rather than seeing the Civil War years as a destructive aberration, Anthony Milton demonstrates how they were integral to (and indeed the climax of) the Church of England's early history. All religious groups – parliamentarian and royalist alike – envisaged changes to the pre-war church, and all were forced to adapt their religious ideas and practices in response to the tumultuous events. Similarly, all saw themselves and their preferred reforms as standing in continuity with the Church's earlier history. By viewing this as a revolutionary 'second Reformation', which necessarily involved everyone and forced them to reconsider what the established church was and how its past should be understood, Milton presents a compelling case for rethinking England's religious history.
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