Jim Gatlin rode into Cedar Creek hunting the man who had framed him for a crime he didn't commit. Pinkerton agent Charlie Pine had located the real train robber, called Hood, but outlaws Hidalgo, Wilson and River were also after him for the fortune locked away in a safe at Hood's home. Why was Hood's location a dark secret – even in Cedar Creek? Why were Marshal Jax Silva and the two hard men, Green and Mundt, determined to keep it that way? Against overwhelming odds, Gatlin would have to face a bloody showdown and it would take all his skill and courage to unlock a truly shocking secret.

At a crucial moment in the development of Texas art, an eccentric oil wildcatter form Massachusetts and Luling, Texas, turned to the prestigious San Antonio Art League with a proposal. He would fund a national art competition featuring the state's verdant fields of wildflowers and bring prominence to Texas art if the league would handle the details. Thus was born the Texas Wildflower Competitive Exhibitions, which in three years at the end of the Roaring Twenties awarded more than $53,000 in prize money for paintings of Texas wildflowers, ranch life, and cotton farming. This presentation of twenty-nine color plates of the competitions' best works includes paintings by such important artists as Jose Arpa, Dawson Dawson-Watson, Xavier Gonzalez, Edward G. Eisenlohr, and Oscar E. Berninghaus and Herbert Dunton (the latter duo having also served as founding members of the Taos Society of Artists). In the plates, the artists have portrayed a variety of landscapes and atmospheres to present the wildflowers loved not only by Davis but by generations of Texas art enthusiasts.

Once a lawman, always a lawman Ty McCord is a flint-hard lawman hell-bent on outrunning a dangerous and often violent past. He travels on a long journey that takes him through Texas and eventually to the far reaches of the lawless Kansas frontier. His plan is straightforward. A quiet new life as a rancher will begin when he arrives in the remote and sparsely settled ocean of Kansas prairie grass. As he works his way along in the rugged territory, Ty's designs for a peaceful existence are soon set upon by his years of wearing a badge. Nearly a year following his arrival in the tallgrass he weds Liz, a refined and headstrong beauty. Abruptly their world is bushwhacked by a band of military-style horse thieves preying on the prairie ranches. In no time a desperate shorthanded marshal begs Ty for his help in putting an end to the night-riding raiders and the threat of angry ranchers taking matters into their own hands. Against the dead set wishes of Liz and their new child Ty reluctantly agrees to join Marshall Seward's failing struggle to bring the savage outlaws to justice. In due time the raids become personal and deadly.

A SundanceTV miniseries starring Michael K. Williams (The Wire), James Purefoy (Rome), and Christina Hendricks (Mad Men). Hap and Leonard don’t fit the profile. Hap Collins looks like a good ’ol boy, but his liberal politics don’t match. After a number of failed careers, Hap has discovered that what he’s best at: kicking ass. Vietnam veteran Leonard Pine is even more complicated: black, conservative, gay . . . and an occasional arsonist. Join in on Hap and Leonard's gritty Texan crime-fighting adventures, including four pieces of bonus material only found in this edition. The Dixie Mafia and small-time crooks alike had best be extremely nervous.

"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.

Any episode of a crime or mystery series involves some or all of the following: the perpetration of a crime; its investigation; the analytical process which involves the determination of the villain; the arrest and trial of the culprit; and the handing out of the appropriate punishment. Such series involving the exploits of a wide variety of courageous heroes and heroines were very popular during the 1950s, and they featured a host of actors and actresses, including famous television detectives (e.g., Raymond Burr), those famous in other genres (e.g., Boris Karloff, Charles Bronson), and over 250 other players with recurring roles. This reference work lists every player who had a regular role in a crime or mystery series during the early era of television. All covered series offered live or filmed episodes of a crime or mystery nature, and all were shown on American television. All series had either regular stars or a recognizable host. Entries cover the player's real name, family information and education; how the player originally broke into show business; the player's career preceding the series; and his or her marriage, children, death date, and film and television credits. Appendices provide a catalog of American mystery series and a list of regular mystery series players whose roles began after December 31, 1959.

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