Hanging Judge and Bowie's Mine offers two classic novels of the Old West for one low price, by renowned Western writer Elmer Kelton. Hanging Judge Justin Moffitt is eager to help keep the peace as a deputy marshal in small-town Texas. That is, until Justin is assigned to the wrong marshal--a "hanging judge" who is as famous for his ruthlessness as he is for his commitment to justice. When Justin's boss hangs a controversial criminal, Justin must defend himself against an army of friends and relatives, desperate for revenge. Bowie’s Mine Daniel Provost is the son of a farmer. Living up to his father's high standards for the farm is very hard work, but his life is basically comfortable and a loving woman is waiting to become his wife. When a well-traveled stranger, bearing a story of Jim Bowie's legendary silver mine, appears at the farm, Daniel might just throw away everything for the chance at adventure he thought had passed him by. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Texas Republic farmer Daniel Provost longs for one last adventure before settling down. When a well-traveled stranger bearing a story of Jim Bowie's legendary silver mine, appears at the farm, Daniel is tempted to throw away everything for the chance at adventure. Reissue.

Elmer Kelton, voted "The Greatest Western Writer of All Time" by the Western Writers of America, is a legend in the field of Western literature. Famous for his realistic characters and accurate depictions of the history of his home state of Texas, Elmer Kelton continues to write exceptional novels of American history. In Hanging Judge, Justin Moffitt is eager to help keep the peace as a deputy marshal in small-town Texas. That is, until Justin is assigned to the wrong marshal-a "hanging judge" who is as famous for his ruthlessness as he is for his commitment to justice. When Justin's boss hangs a controversial criminal, Justin must defend himself against an army of friends and relatives, desperate for revenge. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

When Elmer Kelton died in the fall of 2009, the literary world lost a consummate writer, a man the New York Times called a “novelist who brought the sensibility of the old-style western to bear on a modern Texas landscape of oil fields and financially troubled ranches.” Kelton was also a modest, kind man, always willing to advise a struggling writer or write a blurb for a first time published author, or assign publishing rights to his six masterpieces to a small university press. TCU Press owes a great debt of gratitude to Kelton, and this volume, Elmer Kelton: Memories and Essays, attempts to explore just what it is that made Kelton its leading author. Editors Judy Alter and James Ward Lee gathered together a group of Kelton aficionados who had either published or taught or sold his books, or were simply friends. In several meetings, they divided up the main themes of Kelton’s writing: Alter provides the overview of Kelton’s career; Felton Cochran, longtime owner of Cactus Books in San Angelo, describes how the friendship between bookstore owner and author grew over the years; Ricky Burk, pastor of the church from which Kelton was buried, talks about the man’s influence in his community; Kelton’s son, Steve, explains how Kelton’s career as journalist permeated his novels; Ruth McAdams, who has taught Kelton for years, explores how he deals with the themes of endurance and change; Joyce Roach delicately covers how race and ethnicity figure in Kelton’s plots and the development of his unforgettable characters; Lee gives readers his inimitable take on the Hewey Calloway Trilogy—The Good Old Boys, The Smiling Country, and Six Bits a Day; and Bob J. Frye takes a wry look at Kelton’s use of humor throughout his career. The book also contains Kelton’s own view of the history of the Western novel, a response to revisionist criticism. And finally Cochran provides us a list of most, not all, of Elmer Kelton’s extraordinary body of work.

Paperback Quarterly, A Journal for Paperback Collectors, Volume 1 Number 2, Summer 1978, contains: "P. Q. Interview with Elmer Kelton," "Collecting Armed Service Editions," by Charlotte Laughlin, "The Green Door Mystery," by Howard Waterhouse, "P. Q. Interview with Jada Davis," and "Almuric or 'Edgar Rice Burroughs Visits the Hyborian Age, '" by Michael T. Smith.

Larry McMurtry declares, "Texas itself doesn't have anything to do with why I write. It never did." Horton Foote, on the other hand, says, "I've just never had a desire to write about any place else." In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents. The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers' League of Texas and other authors' organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers' work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices. A sampling from the book: "This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me." —John Graves "Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived." —Naomi Shihab Nye "I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves." —Larry McMurtry "I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read." —Elmer Kelton

Donovan was supposed to be dead. The town of Dry Fork, southern Texas, had buried him years before when Uncle Joe Vickers had fired off both barrels of a shotgun into the vicious outlaw's face as he was escaping from jail. Now, Uncle Joe has been shot-in just the same way. And Judge Upshaw had found a noose hanging on his door. It looked as though Donovan was back-gunning for the people who had tracked him down and tried him. Sheriff Webb Matlock, a stern, quiet man, had more than one reason to find Donovan; Matlock was in love with the woman he had believed to be Donovan's widow; moreover, there were rumors that his hotheaded younger brother Sandy might have joined up with Donovan's gang. For his own peace of mind, and to protect the townspeople who had been threatened, Matlock decided to slip across the border, find Donovan in his Mexican hideout, and bring him back-or kill him. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The new Confederacy, facing into the Union cannon, had too much on its hands to send troops to the Texas frontier to hold back the Indians. Instead, it authorized the State of Texas to raise its own troops. Many kinds of men drifted into the Texas Mounted Rifles. Some thought it might be safer than fighting in far off Virginia. Many were merely young men a-thirst for adventure. Some were settlers who saw this as the best way to protect their families and homes against the murderous thrusts of the Comanche. And some were men who still loved the Union, who had lived too long under that gallant flag to turn their guns against it now. Such a man was Scout Sam Houston Cloud...

Hewey Calloway has a problem. In his West Texas home of 1906, the land of the way of life that he loves are changing too quickly for his taste. Hewey dreams of freedom--he wants only to be a footloose horseback cowboy, endlessly wandering the open range. But the open range of his childhood is slowly disappearing: land is being parceled out, and barbed-wire fences are spring up all over. As if that weren't enough, cars and other machines are invading Hewey's simple cowboy life, stinking up the area and threatening to replace horse travel. As Hewey struggles against the relentless stream of "progress", he comes to realize that the simple life of his childhood is gone, that a man can't live a life whose time has passed, and that every choice he makes--even those that lead to happiness--requires a sacrifice. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.