From Outlaw to Classic presents a sweeping history of the forces that have shaped, and continue to shape, the American poetry canon. Students, scholars, critics, and poets will welcome this enlightening and impressively documented book. Recent writings by critics and theorists on literary canons have dealt almost exclusively with prose; Alan Golding shows that, like all canons, those of American poetry are characterized by conflict. Choosing a series of varied but representative instances, he analyzes battles and contentions among poets, anthologists, poetry magazine editors, and schools of thought in university English departments. The chapters: • present a history of American poetry anthologies • compare competing models of canon-formation, the aesthetic (poet-centered) and the institutional (critic-centered) • discuss the influence of the New Critics, emphasizing their status as practicing poets, their anti-nationalist reading of American poetry, and the landmark textbook, Understanding Poetry by Cleanth Brooks and Robert Penn Warren • examine the canonizing effects of an experimental “little magazine,” Origin • trace how the Language poets address, in both their theory and their method, the canonizing institutions and canonical assumptions of the age.

From Outlaw to Classic presents a sweeping history of the forces that have shaped, and continue to shape, the American poetry canon. Students, scholars, critics, and poets will welcome this enlightening and impressively documented book. Recent writings by critics and theorists on literary canons have dealt almost exclusively with prose; Alan Golding shows that, like all canons, those of American poetry are characterized by conflict. Choosing a series of varied but representative instances, he analyzes battles and contentions among poets, anthologists, poetry magazine editors, and schools of thought in university English departments. The chapters: • present a history of American poetry anthologies • compare competing models of canon-formation, the aesthetic (poet-centered) and the institutional (critic-centered) • discuss the influence of the New Critics, emphasizing their status as practicing poets, their anti-nationalist reading of American poetry, and the landmark textbook, Understanding Poetry by Cleanth Brooks and Robert Penn Warren • examine the canonizing effects of an experimental “little magazine,” Origin • trace how the Language poets address, in both their theory and their method, the canonizing institutions and canonical assumptions of the age.

A brilliant blend of Shop Class as Soulcraft and The Orchid Thief, Earl Swift's wise, funny, and captivating Auto Biography follows an outlaw auto dealer as he struggles to save a rusted '57 Chevy—a car that has already passed through twelve pairs of hands before his—while financial ruin, government bureaucrats and the FBI close in on him. Slumped among hundreds of other decrepit hulks on a treeless, windswept moor in eastern North Carolina, the Chevy evokes none of the Jet Age mystique that made it the most beloved car to ever roll off an assembly line. It's open to the rain. Birds nest in its seats. Officials of the surrounding county consider it junk. To Tommy Arney, it's anything but: It's a fossil of the twentieth-century American experience, of a place and a people utterly devoted to the automobile and changed by it in myriad ways. It's a piece of history—especially so because its flaking skin conceals a rare asset: a complete provenance, stretching back more than fifty years. So, hassled by a growing assortment of challengers, the Chevy's thirteenth owner—an orphan, grade-school dropout and rounder, a felon arrested seventy-odd times, and a man who's been written off as a ruin himself--embarks on a mission to save the car and preserve long record of human experience it carries in its steel and upholstery. Written for both gearheads and Sunday drivers, Auto Biography charts the shifting nature of the American Dream and our strange and abiding relationship with the automobile, through an iconic classic and an improbable, unforgettable hero.

Soft-spoken, cheerful, handsome, and well dressed, George West Musgrave “looked more like a senator than a cattle rustler.” Yet he was a cattle rustler as well as a bandit, robber, and killer, “guilty of more crimes than Billy the Kid was ever accused of.” In Last of the Old-Time Outlaws, Karen Holliday Tanner and John D. Tanner, Jr., recount the colorful life of Musgrave (1877-1947), enduring badman of the American Southwest. Musgrave was a charter member of the High Five/Black Jack gang, which was responsible for Arizona’s first bank hold-up, numerous post office and stagecoach robberies, and the largest Santa Fe Railroad heist in history. Following a decade-long hunt, he was captured and acquitted of killing a former Texas Ranger. After this near brush with prison or execution, he headed for South America, where he gained fame as the leading Gringo rustler. It wasn’t until the 1940s that Musgrave’s age and poor health brought an end to a criminal career that had spanned two continents and two centuries. Incorporating previously unknown facts about the career of this frontier outlaw, the Tanners thoroughly document Musgrave’s half-century of crime, from his childhood in the Texas brush country to his final days in Paraguay.

Josey Wales is out for the blood of the pro-Union Jayhawkers who raped & murdered his wife. When Wales refuses to surrender, he begins a life on the run from the law, reluctantly befriending a diverse group of whites & Indians on his quest for revenge and a new life.

Considers relationships between modernist literature and literary criticism and argues that new modernist fiction can bring with it new modes of reading Considers how close reading may change as the study of modernism changes to include recently recovered fiction Asks what reading meant for selected critics of modernist literature around 1930 and around 1960 Offers readings of three new modernist novels: Djuna Barnes’s Nightwood, John Rodker’s Adolphe 1920 and Mina Loy’s Insel Considers key cultural moments of the novels' composition and reception Extends the questions about reading raised by these novels to Samuel Beckett’s Comment c’est / How It Is and Jean Rhys’s short stories Since the late twentieth century, new understandings of modernism have come with new attention to a range of writers. Yet if the academic study of modernism took shape around an older, narrower selection of writers and works, how can its modes of reading be relevant to newly recovered modernist writing? This book considers how close reading may change as the subjects of literary study change. Elizabeth Pender asks what reading meant for critics of modernist literature around 1930 and around 1960, and then what close reading might look like now for three new modernist novels. Djuna Barnes’s Nightwood, John Rodker’s Adolphe 1920 and Mina Loy’s Insel tend to resist some of the strategies of reading that helped construct a narrowed modernist canon at mid-century, such as the pursuit of coherence. These novels offer new thinking about the temporality of reading, style, and the ethics of narration. Reading these novels now suggests that other new modernist fiction, too, may require revisions to vocabularies with which modernist literature has sometimes been read.

Clarence Mulford's 'Riding in the Wild West' is a collection of 10 classic Western adventures that immerses readers into the rugged and untamed landscapes of the Old West. Mulford's writing style is characterized by vivid descriptions, realistic dialogue, and fast-paced action scenes that captivate the reader from start to finish. Each story is a thrilling journey filled with cowboys, outlaws, and dusty trails, offering a glimpse into the challenges and triumphs of life on the frontier. Mulford's storytelling prowess shines through in these timeless tales of courage, loyalty, and justice, making this compilation a must-read for fans of the Western genre. The book's literary context reflects the enduring popularity of Western fiction and its ability to transport readers to a bygone era of adventure and excitement. Clarence Mulford, known for creating the iconic character Hopalong Cassidy, draws upon his own experiences in the West to craft authentic and engaging narratives that resonate with readers of all ages. With its blend of action, suspense, and old-fashioned values, 'Riding in the Wild West' is a testament to Mulford's skill as a master storyteller and a fitting tribute to the legacy of Western literature.

This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Contents: Introduction Story of the Cowboy Story of the Outlaw Novels & Stories Riders of the Purple Sage Saga (Zane Grey) Ohio River Trilogy Dan Barry Series (Max Brand) The Virginian (Owen Wister) Lin McLean Leatherstocking Series (James F. Cooper) Flying U Series (B. M. Bower) Cabin Fever Rimrock Trail (J. Allan Dunn) Breckinridge Elkins Series (Robert E. Howard) In a Hollow of the Hills (Bret Harte) Roughing It (Mark Twain) Outcasts of Poker Flat Call of the Wild (Jack London) Heart of the West (O. Henry) White Fang Wolf Hunters (James Oliver Curwood) Gold Hunters Last of the Plainsmen Border Legion Smoke Bellew Country Beyond Lone Star Ranger Ronicky Doone Trilogy Riders of the Silences Three Partners Man of the Forest Lure of the Dim Trails Tennessee's Partner Covered Wagon (Emerson Hough) Luck of Roaring Camp Rustlers of Pecos County Pike Bearfield Series O Pioneers! (Willa Cather) My Ántonia Log of a Cowboy (Andy Adams) Two-Gun Man (Charles Alden Seltzer) Short Cut (Jackson Gregory) Astoria (Washington Irving) Ungava (R.M. Ballantyne) Valley of Silent Men Black Jack Whispering Smith (Frank H. Spearman) A Texas Cow Boy (Charles Siringo) Trail Horde Golden Dream (Ballantyne) Blue Hotel (Stephen Crane) Long Shadow Girl from Montana (Grace Livingston Hill) Hidden Children (Robert W. Chambers) Where the Trail Divides Desert Trail (Dane Coolidge) Bride Comes to Yellow Sky Hidden Water...

This collection of essays describes the genesis of ten classic works of American literature. Using biographical, cultural, and manuscript evidence, the contributors tell the "stories of stories," plotting the often curious and always interesting ways in which notable American books took shape in a writer's mind. The genetic approach taken in these essays derives from a curiosity, and sometimes a feeling of awe, about how a work of literature came to exist -- what motivated its creation, informed its vision, urged its completion. It is just that sort of wonder that first brings some people to love writers and their books. Originally published in 1990. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.