I am the Lawman. Below is my creed. Like a religious creed, it is chanted, so I remember, in exacting detail, everything I believed. All my actions. I once had two milliseconds of love. Then they were removed from me. I can most assuredly attest that it's not better to have loved and lost than never to have loved at all. Love fueled my excruciating anger. And then anger's loyal bedfellow. Revenge. Love turned me into a hate-fueled monster. To the perpetrators, it was merely a game. Even if the authorities knew who the were, there were no lawmen to punish them. I was without hope, without retribution. I was strapped in a straitjacket with only memories to taunt my immobilized carcass. So I did what any brave soul would do. I went about the slow business of killing myself. Then as foretold by Edgar Allen Poe: ONCE upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping... It wasn't a Raven. It was a hovering prophet from the past. It had a message for me: "Son. She's buried alive. She's running out of time. Find her. She can do anything." I found her grave deep in the Atlantic Ocean where I would live during her revival. If she could do anything, I knew what I wanted her to do. Remove the straitjacket that bound me. I brought her back to life. We created marionette ghouls that were inspired by unnatural genetic instinct. They avenged my lost love. I labeled myself the Lawman and lived a villainous comic book hero's quest for revenge. We killed every last one of them. Playing the puppet master, we tweaked the strings of my unnatural creatures. Our monsters escaped and mutated into viral, roaming death with a zombie's lack of empathy. Revenge is not a cold meal. Revenge is a warm fillet cut with a butter knife; it's seasoned with blood for just the right amount of saltiness. The blood has to be fresh; it needs to be deoxygenated through the screams of its donor. I am the Lawman. That is my creed. My confession.

American moviegoers have long turned to the Hollywood Western for reassurance in times of crisis. During the genre's heyday, the films of John Ford, Howard Hawks and Henry Hathaway reflected a grand patriotism that resonated with audiences at the end of World War II. The tried-and-true Western was questioned by Ford and George Stevens during the Cold War, and in the 1960s directors like Sam Peckinpah and George Roy Hill retooled the genre as a commentary on American ethics during the Vietnam War. Between the mid-1970s and early 1990s, the Western faded from view--until the Gulf War, when Kevin Costner's Dances with Wolves (1990) and Clint Eastwood's Unforgiven (1992) brought it back, with moral complexities. Since 9/11, the Western has seen a resurgence, blending its patriotic narrative with criticism of America's place in the global community. Exploring such films as True Grit (2010) and Brokeback Mountain (2005), along with television series like Deadwood and Firefly, this collection of new essays explores how the Western today captures the dichotomy of our times and remains important to the American psyche.

Acclaim for Doc Holliday "Splendid . . . not only the most readable yet definitive study of Holliday yet published, it is one of the best biographies of nineteenth-century Western 'good-bad men' to appear in the last twenty years. It was so vivid and gripping that I read it twice." --Howard R. Lamar, Sterling Professor Emeritus of History, Yale University, and author of The New Encyclopedia of the American West "The history of the American West is full of figures who have lived on as romanticized legends. They deserve serious study simply because they have continued to grip the public imagination. Such was Doc Holliday, and Gary Roberts has produced a model for looking at both the life and the legend of these frontier immortals." --Robert M. Utley, author of The Lance and the Shield: The Life and Times of Sitting Bull "Doc Holliday emerges from the shadows for the first time in this important work of Western biography. Gary L. Roberts has put flesh and soul to the man who has long been one of the most mysterious figures of frontier history. This is both an important work and a wonderful read." --Casey Tefertiller, author of Wyatt Earp: The Life Behind the Legend "Gary Roberts is one of a foremost class of writers who has created a real literature and authentic history of the so-called Western. His exhaustively researched and beautifully written Doc Holliday: The Life and Legend reveals a pathetically ill and tortured figure, but one of such intense loyalty to Wyatt Earp that it brought him limping to the O.K. Corral and into the glare of history." --Jack Burrows, author of John Ringo: The Gunfighter Who Never Was "Gary L. Roberts manifested an interest in Doc Holliday at a very early age, and he has devoted these past thirty-odd years to serious and detailed research in the development and writing of Doc Holliday: The Life and Legend. The world knows Holliday as Doc Holliday. Family members knew him as John. Somewhere in between the two lies the real John Henry Holliday. Roberts reflects this concept in his writing. This book should be of interest to Holliday devotees as well as newly found readers." --Susan McKey Thomas, cousin of Doc Holliday and coauthor of In Search of the Hollidays

On a gloomy New Year's Eve, recently bereft of wife and partner, down-and-out New York City PI John Justin Mallory is hired by Mrgenstrm, a little green elf who wants Mallory to track down a stolen unicorn. After gradually accepting that his client is not an alcohol-fueled hallucination, Mallory deftly takes on a shadow city of demons, leprechauns and gnomes even as he learns that his own future hinges on the unicorn's recovery.

“Elmore Leonard can write circles around almost anybody active in the crime novel today.” —New York Times Book Review The revered New York Times bestselling author, recognized as “America’s greatest crime writer” (Newsweek), brings back U.S. Marshal Raylan Givens, the mesmerizing hero of Pronto, Riding the Rap, and the hit FX series Justified. With the closing of the Harlan County, Kentucky, coal mines, marijuana has become the biggest cash crop in the state. A hundred pounds of it can gross $300,000, but that’s chump change compared to the quarter million a human body can get you—especially when it’s sold off piece by piece. So when Dickie and Coover Crowe, dope-dealing brothers known for sampling their own supply, decide to branch out into the body business, it’s up to U.S. Marshal Raylan Givens to stop them. But Raylan isn’t your average marshal; he’s the laconic, Stetson-wearing, fast-drawing lawman who juggles dozens of cases at a time and always shoots to kill. But by the time Raylan finds out who’s making the cuts, he’s lying naked in a bathtub, with Layla, the cool transplant nurse, about to go for his kidneys. The bad guys are mostly gals this time around: Layla, the nurse who collects kidneys and sells them for ten grand a piece; Carol Conlan, a hard-charging coal-mine executive not above ordering a cohort to shoot point-blank a man who’s standing in her way; and Jackie Nevada, a beautiful sometime college student who can outplay anyone at the poker table and who suddenly finds herself being tracked by a handsome U.S. marshal. Dark and droll, Raylan is pure Elmore Leonard—a page-turner filled with the sparkling dialogue and sly suspense that are the hallmarks of this modern master.

" Among the darkest corners of Kentucky’s past are the grisly feuds that tore apart the hills of Eastern Kentucky from the late nineteenth century until well into the twentieth. Now, from the tangled threads of conflicting testimony, John Ed Pearce, Kentucky’s best known journalist, weaves engrossing accounts of six of the most notorior accounts to uncover what really happened and why. His story of those days of darkness brings to light new evidence, questions commonly held beliefs about the feuds, and us and long-running feuds—those in Breathitt, Clay Harlan, Perry, Pike, and Rowan counties. What caused the feuds that left Kentucky with its lingering reputation for violence? Who were the feudists, and what forces—social, political, financial—hurled them at each other? Did Big Jim Howard really kill Governor William Goebel? Did Joe Eversole die trying to protect small mountain landowners from ruthless Eastern mineral exploiters? Did the Hatfield-McCoy fight start over a hog? For years, Pearce has interviewed descendants of feuding families and examined skimpy court records and often fictional newspapeputs to rest some of the more popular legends.

On January 20, 1942, black oil mill worker Cleo Wright assaulted a white woman in her home and nearly killed the first police officer who tried to arrest him. An angry mob then hauled Wright out of jail and dragged him through the streets of Sikeston, Missouri, before burning him alive. Wright's death was, unfortunately, not unique in American history, but what his death meant in the larger context of life in the United States in the twentieth-century is an important and compelling story. After the lynching, the U.S. Justice Department was forced to become involved in civil rights concerns for the first time, provoking a national reaction to violence on the home front at a time when the country was battling for democracy in Europe. Dominic Capeci unravels the tragic story of Wright's life on several stages, showing how these acts of violence were indicative not only of racial tension but the clash of the traditional and the modern brought about by the war. Capeci draws from a wide range of archival sources and personal interviews with the participants and spectators to draw vivid portraits of Wright, his victims, law-enforcement officials, and members of the lynch mob. He places Wright in the larger context of southern racial violence and shows the significance of his death in local, state, and national history during the most important crisis of the twentieth-century.