Cowboy, army guide, farmer, peace officer, and character in his own right, John P. Meadows arrived in New Mexico from Texas as a young man. During his life in the Southwest, he knew or worked for many well-known characters, including William “Billy the Kid” Bonney, Sheriff Pat Garrett, John Selman, Hugh Beckwith, Charlie Siringo, and Pat Coghlan. Meadows helped investigate the disappearance of Colonel Albert Jennings Fountain, and he later bought part of downtown Tularosa, New Mexico, where he served a term as mayor. The recollections gathered here are based on Meadows’s interviews with a reporter for the Alamogordo News, a partial transcript of his reminiscences given at the Lincoln State Monument, and a talk he gave by invitation in Roswell, New Mexico, to refute inaccuracies in the 1930 MGM movie Billy the Kid.

Meadows helped investigate the disappearance of Colonel Albert Jennings Fountain, and later bought part of downtown Tularosa, New Mexico, where he served a term as mayor." "These recollections are an authentic voice of the frontier West. They inform the modern reader about what one man saw and heard in his long career in southern New Mexico."--Jacket.

Long before Sam Peckinpah finished shooting his 1973 Western, Pat Garrett and Billy the Kid, there was open warfare between him and the studio. In this scrupulously researched new book Paul Seydor reconstructs the riveting history of a brilliant director fighting to preserve an artistic vision while wrestling with his own self‐destructive demons. Meticulously comparing the film five extant versions, Seydor documents why none is definitive, including the 2005 Special Edition, for which he served as consultant. Viewing Peckinpah’s last Western from a variety of fresh perspectives, Seydor establishes a nearly direct line from the book Garrett wrote after he killed Billy the Kid to Peckinpah’s film ninety-one years later and shows how, even with directors as singular as this one, filmmaking is a collaborative medium. Art, business, history, genius, and ego all collide in this story of a great director navigating the treacherous waters of collaboration, compromise, and commerce to create a flawed but enduringly powerful masterpiece.

“So richly detailed, you can almost smell the gunsmoke and the sweat of the saddles. ” —Hampton Sides, New York Times bestselling author of Ghost Soldiers No outlaw typifies America’s mythic Wild West more than Billy the Kid. To Hell on a Fast Horse by Mark Lee Gardner is the riveting true tale of Sheriff Pat Garrett’s thrilling, break-neck chase in pursuit of the notorious bandit. David Dary calls To Hell on a Fast Horse, “A masterpiece,” and Robert M. Utley calls it, “Superb narrative history.” This is spellbinding historical adventure at its very best, recalling James Swanson’s New York Times bestseller Manhunt—about the search for Lincoln’s assassin, John Wilkes Booth—as it fills in with fascinating detail the story director Sam Peckinpah brought to the screen in his classic film Pat Garrett and Billy the Kid.

Pat Garrett, the sheriff of Lincoln County, New Mexico, claimed responsibility for the death of the notorious outlaw, Billy the Kid. This charge would not be his first lie, nor would it be his last, but it would be, by far, the most prominent. In a departure from the overwhelming literature that takes lawman Pat Garrett’s story—that he killed The Kid in a happenstance meeting in an isolated cabin—as historical truth, W.C. Jameson presents evidence to the contrary.