The book titled 'Six Gun Justice' is a fictional account of the life of the main character, Jim Vogt. The story begins with Jim and his father are off hunting and a tragedy happens to his mother and brother. A group of evil men rapes and murders the mother and takes Jim's young brother Peter off to sell into slavery. Jim is sent to his uncle Martin to live, while the father tries to track down the evil men. Fifteen years later, while living in Texas, tragedy again strikes Jim's loved ones. His pregnant wife is raped and murdered and he sets out on a trail of revenge. It takes a long time, but he tracks down the criminals and metes out his own brand of justice on them. On his travels he meets and falls in love, and meets someone who knows his brother. He settles down with his new wife and one day his long lost brother appears at his door. He stays with Jim for a period of time. He then sets out on his own and marries. He takes on the job of sheriff. He has some trouble with a local rancher and calls on Jim for help. Peter and his wife then travel to California. At this time Jim receives a letter from his long missing father, who happens to live in California. Jim is able to contact both his father and brother and arranges for them to return back to his ranch. The family is reunited and a new generation of'Vogts' is started.

A FICTION HOUSE PRESS FIRST EDITION: The Six-Gun Gorilla, named O'Neil, was raised by Bart Masters during the 1800's at a gold-mine in Colorado. Masters taught the gorilla many chores including shoot-ing a six-gun. Masters was killed by the Strawhan Gang and O'Neil was left for dead. When the gorilla regained consciousness and found his master dead, the ape's out-rage at the killing was intense and he swore he would kill the men who killed his owner. Our publication includes all of the original illustrations from the British paper ""The Wizard.""

From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consciousness and society. If a myth is popular, it must somehow appeal to or reinforce the individuals who view it by communicating a symbolic meaning to them. This meaning must, in turn, reflect the particular social institutions and attitudes that have created and continue to nourish the myth. Thus, a myth must tell its viewers about themselves and their society. This study, which takes up the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. Mostly, however, it will take us into the movies, the spectacular and not-so-spectacular sagebrush of the cinema. Unlike most works of social science, the data on which my analysis is based is available to all of my readers, either at the local theater or, more likely, on the late, late show. I hope you will take the opportunity, whenever it is offered, to check my findings and test my interpretations; the effort is small and the rewards are many. And if your wife, husband, mother, or child asks you why you are wasting your time staring at Westerns on TV in the middle of the night, tell them firmly—as I often did—that you are doing research in social science. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977. From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consc

A pirate attack with only one survivor A conspiracy woven across the planets A vengeance that will not be denied When pirates seize the inter-planetary freighter owned by Brad Mantruso's family, he is dumped into space. Saved from death by a passing Fleet ship, he is left with nothing but his skills, a gun, and a burning desire for vengeance. Acquiring a ship, he reinvents himself as the mercenary Captain Brad Madrid. Before he can pursue his enemies, however, he finds himself dragged into an unexpected conflict when his ship's history draws new enemies to him. Beset by pirates, slavers, and a woman who might be his savior-but definitely is a spy-it will take all of his skill, cunning, and new friends to claim his revenge!

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.