First published in 1935, Old Jules is unquestionably Mari Sandoz?s masterpiece. This portrait of her pioneer father grew out of ?the silent hours of listening behind the stove or the wood box, when it was assumed, of course, that I was asleep in bed. So it was that I heard the accounts of the hunts,? Sandoz recalls. "Of the fights with the cattlemen and the sheepmen, of the tragic scarcity of women, when a man had to ?marry anything that got off the train,? of the droughts, the storms, the wind and isolation. But the most impressive stories were those told me by Old Jules himself.? This Bison Books edition includes a new introduction by Linda M. Hasselstrom.

By zealous research, keen observation, and wide-ranging and deeply probing commentary, Mari Sandoz has become one of the most famous and well-respected interpreters of the American West. Old Jules Country is made up of the region thatøSandoz has written about most frequently?the High Plains of the Dakotas, Montana, Nebraska, and Wyoming?the Black Hills, the Bad Lands, the sandhills, and the great rivers: the Missouri, the Platte, and the Yellowstone. Here are selections from the six volumes of her acclaimed Great Plains Series The Beaver Men, Crazy Horse, Cheyenne Autumn, The Buffalo Hunters, The Cattlemen, and Old Jules and from her study of a great people, These Were the Sioux. Also included are two essays, "The Lost Sitting Bull" and "The Homestead in Perspective." A Cheyenne prayer and two sketches unavailable elsewhere?"Snakes" and "Coyotes and Eagles"?complete the collection. This anthology provides a stimulating sampling for readers not yet acquainted with Sandoz's work. For her extensive following, it offers the opportunity for a satisfying reappraisal of her overall achievement.

The subject of this modern classic is not a man. "It is an event," says Jules Romains, who is considered "the French Dos Passos." The event starts with the death of Jacques Godard, a man of no importance. It unfolds through his brief survival in the minds of others - the porter of his tenement in Paris, his fellow lodgers, a few acquaintances, his old father, who comes up from the country for the funeral, a young stranger who feels that the dead pass into "a great soul that cannot die." The event expresses Romains's belief in "collective beings," the famous theory of "Unanimism." In dramatizing his theory, Romains developed an advanced motion-picture technique when films were in their infancy, a technique of group portraits and sudden shifts from scene to scene that keeps this work far ahead of conventional novels. Here, Romains explores the ideas and the devices used in his twenty-seven-volume masterpiece, Men of Good Will, which André Maurois calls "the boldest attempt to describe completely his own time that any French novelist has made since Balzac."