First published in 1943, this autobiography is also a superb portrait of America's Depression years, by the folk singer, activist, and man who saw it all. Woody Guthrie was born in Oklahoma and traveled this whole country over—not by jet or motorcycle, but by boxcar, thumb, and foot. During the journey of discovery that was his life, he composed and sang words and music that have become a national heritage. His songs, however, are but part of his legacy. Behind him Woody Guthrie left a remarkable autobiography that vividly brings to life both his vibrant personality and a vision of America we cannot afford to let die. “Even readers who never heard Woody or his songs will understand the current esteem in which he’s held after reading just a few pages… Always shockingly immediate and real, as if Woody were telling it out loud… A book to make novelists and sociologists jealous.” —The Nation

First published in 1943, this autobiography is also a superb portrait of America's Depression years, by the folk singer, activist, and man who saw it all. Woody Guthrie was born in Oklahoma and traveled this whole country over—not by jet or motorcycle, but by boxcar, thumb, and foot. During the journey of discovery that was his life, he composed and sang words and music that have become a national heritage. His songs, however, are but part of his legacy. Behind him Woody Guthrie left a remarkable autobiography that vividly brings to life both his vibrant personality and a vision of America we cannot afford to let die. “Even readers who never heard Woody or his songs will understand the current esteem in which he’s held after reading just a few pages… Always shockingly immediate and real, as if Woody were telling it out loud… A book to make novelists and sociologists jealous.” —The Nation

An unwilling legend and the woman who made him into one finally meet in a sizzling encounter. Nathaniel has many names. They call him Deathrider, White Wolf, the Plague of the West. He’s the ice-eyed killer of the plains; the ghost of the trail; the restless spirit who haunts the frontier from California to Missouri, leaving a trail of bodies in his wake. They say he moves silently through the night and changes form to run with the wolves. Or so the rumors go.… Ava Archer wouldn’t know. She’s never seen him. But that doesn’t stop her from writing about him. After more than a dozen dime novels about the Plague of the West, she thinks she probably knows him better than he knows himself—even if she wouldn’t recognize him on the street. Nathaniel is ready to put the rumors about him to bed by confronting A. A. Archer. But he never could have predicted that she wouldn’t be at all what he expected, but rather a sexy redheaded woman with sloe-dark eyes who could slay a man at fifty paces. And she’s not looking to play fair.

This remarkable story of the chapel cars that traveled the American West from 1890 to 1940 reveals previously untapped sources to complete the history of all thirteen cars.

R. C. Sproul, Jr., decries the alarming state of the family in our time, calling Christians to look to the Word of God to see how we can be bound together as families and as the church by understanding the covenantal nature of the family. He especially encourages fathers to exemplify Christ to their families, and he discusses the benefits of homeschooling and the role of parents in their children's education.

An unwilling legend and the woman who made him into one finally meet in a sizzling encounter. Nathaniel has many names. They call him Deathrider, White Wolf, the Plague of the West. He’s the ice-eyed killer of the plains; the ghost of the trail; the restless spirit who haunts the frontier from California to Missouri, leaving a trail of bodies in his wake. They say he moves silently through the night and changes form to run with the wolves. Or so the rumors go.… Ava Archer wouldn’t know. She’s never seen him. But that doesn’t stop her from writing about him. After more than a dozen dime novels about the Plague of the West, she thinks she probably knows him better than he knows himself—even if she wouldn’t recognize him on the street. Nathaniel is ready to put the rumors about him to bed by confronting A. A. Archer. But he never could have predicted that she wouldn’t be at all what he expected, but rather a sexy redheaded woman with sloe-dark eyes who could slay a man at fifty paces. And she’s not looking to play fair.

Analyzes the films and filmmaking career of director Hal Ashby, placing his work in the cultural context of filmmaking in the 1970s. Hal Ashby directed eleven feature films over the course of his career and was an important figure in the Hollywood Renaissance of the late 1960s and 1970s. Though he was a member of the same generation of filmmakers as Martin Scorsese, Francis Ford Coppola, and Robert Altman, Ashby has received comparatively little critical or scholarly validation for his work. Author Christopher Beach argues that despite his lower profile, Ashby was an exceptionally versatile and unusually creative director. Beach focuses primarily on Ashby's first seven films—The Landlord, Harold and Maude, The Last Detail, Shampoo, Bound for Glory, Coming Home, and Being There—to analyze Ashby's contributions to filmmaking culture in the 1970s. The first two chapters of this volume provide an overview of Ashby's filmmaking career, as Beach makes the case for Ashby's status as an auteur and provides a biographical survey of Ashby's most productive and successful decade, the 1970s. In the following chapters, Beach analyzes groups of films to uncover important thematic concerns in Ashby's work, including the treatment of a young male protagonist in The Landlord and Harold and Maude, the representation of the U.S. military in The Last Detail and Coming Home, and the role of television and mass media in Shampoo and Being There. Beach also examines the crucial role of the musical score in Ashby's films, as well as the rapid decline of the director's career after Being There. The Films of Hal Ashby is based on Beach's extensive use of unpublished archival materials, as well as a number of interviews with actors, directors, producers, cinematographers, and others involved in the making of Ashby's films. This volume will interest film and television scholars, as well as readers interested in filmmakers of the 1970s.