A long life fully lived might appropriately be documented in some concrete, long-lasting, retrievable form. So, at the risk of being charged with hubris, I here have accounted for those years, giving credit to ones who accompanied me along the way and implying the values that have motivated me. It has been a life of striving, of involvement, of reaching out for new experience, of celebrating successes and learning from failures. This journey has been deeply rewarding, taking me from the onion fields of Western Colorado to the tranquil forests of Central Oregon, through junior high classrooms and hotel conference rooms, over High Sierra passes, to the offices of government and to many foreign countries. Here I share that life story.

Frederick Schiller Faust (May 29, 1892 - May 12, 1944) was an American author known primarily for his thoughtful and literary Westerns under the pen name Max Brand. This is one of his novels.

A Canadian icon on his longstanding love of the West and his life in "one of the last true cowboy countries on either side of the border." "I live on a ranch about six miles east of the town of Longview and the old Cowboy Trail in the foothills of the Rockies. On a perfect day, like today, I can't imagine being anywhere else in the world. Of course, I'm not going to say there aren't those other days when you think, 'What am I doing here?' It's beautiful country and it can be brutally tough as well." —Ian Tyson Ian Tyson's journey to the West began in the unlikely city of Victoria, BC, where he rode his dad's horses on the weekends and met cowboys in the pages of Will James's books, and eventually followed that cowboy dream to rodeo competition. Laid up after breaking a leg, he learned the guitar, and drifted east, becoming a key songwriter and performer in the folk revival movement. But the West always beckoned, and when his marriage to his partner and collaborator Sylvia broke up and the music scene threatened to grind him down, he retreated to a ranch and work with cutting horses. Soon, he'd bought a ranch in Alberta and found a new voice as the renowned Western Revival singer-songwriter and horseman he is today. This book is Ian's reflection on that journey...

A powerful new novel about divided loyalties and the realities of war from “master storyteller” (Wall Street Journal) Sebastian Barry, author of Old God's Time In 1914, Willie Dunne, barely eighteen years old, leaves behind Dublin, his family, and the girl he plans to marry in order to enlist in the Allied forces and face the Germans on the Western Front. Once there, he encounters a horror of violence and gore he could not have imagined and sustains his spirit with only the words on the pages from home and the camaraderie of the mud-covered Irish boys who fight and die by his side. Dimly aware of the political tensions that have grown in Ireland in his absence, Willie returns on leave to find a world split and ravaged by forces closer to home. Despite the comfort he finds with his family, he knows he must rejoin his regiment and fight until the end. With grace and power, Sebastian Barry vividly renders Willie’s personal struggle as well as the overwhelming consequences of war.

Energy and action may be of two sorts, good or bad; this being as well as we can phrase it in human affairs. The live wires that net our streets are more dangerous than all the bad men the country ever knew, but we call electricity on the whole good in its action. We lay it under law, but sometimes it breaks out and has its own way. These outbreaks will occur until the end of time, in live wires and vital men. Each land in the world produces its own men individually bad—and, in time, other bad men who kill them for the general good. There are bad Chinamen, bad Filipinos, bad Mexicans, and Indians, and negroes, and bad white men. The white bad man is the worst bad man of the world, and the prize-taking bad man of the lot is the Western white bad man. Turn the white man loose in a land free of restraint—such as was always that Golden Fleece land, vague, shifting and transitory, known as the American West—and he simply reverts to the ways of Teutonic and Gothic forests. The civilized empire of the West has grown in spite of this, because of that other strange germ, the love of law, anciently implanted in the soul of the Anglo-Saxon. That there was little difference between the bad man and the good man who went out after him was frequently demonstrated in the early roaring days of the West. The religion of progress and civilization meant very little to the Western town marshal, who sometimes, or often, was a peace officer chiefly because he was a good fighting man. We band together and "elect" political representatives who do not represent us at all. We "elect" executive officers who execute nothing but their own wishes. We pay innumerable policemen to take from our shoulders the burden of self-protection; and the policemen do not do this thing. Back of all the law is the undelegated personal right, that vague thing which, none the less, is recognized in all the laws and charters of the world; as England and France of old, and Russia to-day, may show. This undelegated personal right is in each of us, or ought to be. If there is in you no hot blood to break into flame and set you arbiter for yourself in some sharp, crucial moment, then God pity you, for no woman ever loved you if she could find anything else to love, and you are fit neither as man nor citizen. As the individual retains an undelegated right, so does the body social. We employ politicians, but at heart most of us despise politicians and love fighting men. Society and law are not absolutely wise nor absolutely right, but only as a compromise relatively wise and right. The bad man, so called, may have been in large part relatively bad. This much we may say scientifically, and without the slightest cheapness. It does not mean that we shall waste any maudlin sentiment over a desperado; and certainly it does not mean that we shall have anything but contempt for the pretender at desperadoism. Who and what was the bad man? Scientifically and historically he was even as you and I. Whence did he come? From any and all places. What did he look like? He came in all sorts and shapes, all colors and sizes—just as cowards do. As to knowing him, the only way was by trying him. His reputation, true or false, just or unjust, became, of course, the herald of the bad man in due time. The "killer" of a Western town might be known throughout the state or in several states. His reputation might long outlast that of able statesmen and public benefactors.

The Ultimate Western Collection is a monumental anthology that captures the rugged ethos and sweeping landscapes of the American frontier. Through a rich tapestry of narratives, this compilation spans a wide array of literary styles, from the gritty realism of pioneer life to the romanticized vistas of the Wild West. The anthology showcases the diversity and significance of the genre, including standout pieces that have shaped the cultural imagery of the American West. The esteemed array of authors contributes stories that vary from high adventure to introspective character studies, each adding depth and nuance to the understanding of the Western ethos. The contributors to this anthology, including luminaries like Mark Twain, Willa Cather, and Jack London, among others, bring with them backgrounds as diverse as the landscapes they describe. Their collective works, rooted in different epochs of American history, offer a panoramic view of the cultural, social, and economic forces that have shaped the American West. By aligning with historical, cultural, or literary movements, these authors enrich the anthology's thematic coherence, providing readers with an immersive experience into the trials, tribulations, and triumphs of Western life. The Ultimate Western Collection offers readers a unique opportunity to delve into the multifaceted world of Western literature. It is an educational journey through the heart and soul of America, encouraging exploration of its vast and varied narratives. Through its comprehensive selection, the anthology fosters a dialogue between the works of established masters and lesser-known authors, each contributing distinct voices to the collective story of the American frontier. It is a must-read for anyone eager to explore the depth and breadth of Western literature, and to understand the enduring allure of the Wild West.