Edwin "Bud" Shrake is one of the most intriguing literary talents to emerge from Texas. He has written vividly in fiction and nonfiction about everything from the early days of the Texas Republic to the making of the atomic bomb. His real gift has been to capture the Texas Zeitgeist. Legendary Harper's Magazine editor Willie Morris called Shrake's essay "Land of the Permanent Wave" one of the two best pieces Morris ever published during his tenure at the magazine. High praise, indeed, when one considers that Norman Mailer and Seymour Hersh were just two of the luminaries featured at Harper's during Morris's reign. This anthology is the first to present and explore Shrake's writing completely, including his journalism, fiction, and film work, both published and previously unpublished. The collection makes innovative use of his personal papers and letters to explore the connections between his journalism and his novels, between his life and his art. An exceptional behind-the-scenes look at his life, Land of the Permanent Wave reveals and reveres the life and calling of a writer whose legacy continues to influence and engage readers and writers nearly fifty years into his career.

At the height of the sixties, a group of Texas writers stood apart from Texas’ conservative establishment. Calling themselves the Mad Dogs, these six writers—Bud Shrake, Larry L. King, Billy Lee Brammer, Gary Cartwright, Dan Jenkins, and Peter Gent—closely observed the effects of the Vietnam War; the Kennedy assassination; the rapid population shift from rural to urban environments; Lyndon Johnson’s rise to national prominence; the Civil Rights Movement; Tom Landry and the Dallas Cowboys; Willie Nelson, Jerry Jeff Walker, the new Outlaw music scene; the birth of a Texas film industry; Texas Monthly magazine; the flowering of “Texas Chic”; and Ann Richards’ election as governor. In Texas Literary Outlaws, Steven L. Davis makes extensive use of untapped literary archives to weave a fascinating portrait of writers who came of age during a period of rapid social change. With Davis’s eye for vibrant detail and a broad historical perspective, Texas Literary Outlaws moves easily between H. L. Hunt’s Dallas mansion and the West Texas oil patch, from the New York literary salon of Elaine’s to the Armadillo World Headquarters in Austin, from Dennis Hopper on a film set in Mexico to Jerry Jeff Walker crashing a party at Princeton University. The Mad Dogs were less interested in Texas’ mythic past than in the world they knew firsthand—a place of fast-growing cities and hard-edged political battles. The Mad Dogs crashed headfirst into the sixties, and their legendary excesses have often overshadowed their literary production. Davis never shies away from criticism in this no-holds-barred account, yet he also shows how the Mad Dogs’ rambunctious personae have deflected a true understanding of their deeper aims. Despite their popular image, the Mad Dogs were deadly serious as they turned their gaze on their home state, and they chronicled Texas culture with daring, wit, and sophistication.

"Published in Cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University."

The World Theatre in Kearney, Nebraska, opened in 1927 and was welcomed by an excited public. Much more than just a movie house, it soon proved to be a social center, where people of all professions, ages, and income levels would frequently gather, because it was modern and new and there were considered few equally attractive alternatives. Some went because it was a sanctuary or where they earned a living, while others nurtured the seeds of attachments there or sought out temporary distractions such as bits of humor, drama, mystery, or adventure. For still more, it was an important venue for staying informed or even escaping the heat of the day. Slowly over time, the entertainment and economic landscapes in the country changed, affecting The World's profitability as well as others like it.