Colonel Utah Blaine, held captive by the Army of the Revolution, broke out of jail and headed north from Mexico with nothing but the clothes on his back. Then he found new trouble struggling at the end of a noose–and stepped in just in time to save the life of a Texas rancher. The would-be executioners were the rancher’s own men, looking to steal his land. Now Utah has a unique proposition: Have the wealthy Texan play dead, introduce himself as the spread’s new foreman, and take care of the outlaws one by one. The wage to fight another man’s war? A hundred a month plus expenses. The cost of falling in love while he earns that wage? It wasn’t exactly part of the original agreement, but Utah will soon find out–unless the bad guys get to him first.

Colonel Utah Blaine, held captive by the Army of the Revolution, broke out of jail and headed north from Mexico with nothing but the clothes on his back. Then he found new trouble struggling at the end of a noose–and stepped in just in time to save the life of a Texas rancher. The would-be executioners were the rancher’s own men, looking to steal his land. Now Utah has a unique proposition: Have the wealthy Texan play dead, introduce himself as the spread’s new foreman, and take care of the outlaws one by one. The wage to fight another man’s war? A hundred a month plus expenses. The cost of falling in love while he earns that wage? It wasn’t exactly part of the original agreement, but Utah will soon find out–unless the bad guys get to him first.

Utah Blaine Held captive south of the border, Colonel Utah Blaine escaped with nothing but the clothes on his back. Then he found new trouble by saving the life of a Texas rancher. The would-be executioners were the rancher’s own men, looking to steal his land. Now Utah has a unique proposition: Have the wealthy Texan play dead, introduce himself as the spread’s new foreman, and take care of the outlaws one by one. The wage to fight another man’s war? Generous. The cost of falling in love while earning that wage? Utah will soon find out—unless the bad guys get him first. Silver Canyon “You’re not wanted in Hattan’s Point,” Matt Brennan was told moments after arriving in town. “There’s trouble here and men are picking sides.” But Matt wasn’t going anywhere until he found out what the dispute was about—and got to know Moira Maclaren. She considered him nothing more than a drifting ranch hand, and he wanted to prove her wrong. To do it, he’d have to solve the mystery of the growing violence—a mystery that could make a man rich…or dead.

As part of the Louis L’Amour’s Lost Treasures series, this edition contains exclusive bonus materials! The abandoned cabin seemed like a good place to settle down . . . except for the dead man in the front yard. But Doby Kernohan and his father had traveled a long way seeking a new start, and they were in no position to be choosy. Unfortunately, the mysterious man’s violent end was an omen of darker events to come, for a cycle of violence that had begun long ago was about to reach an explosive conclusion. Caught in a tangle of murder, greed, and blood vengeance, the Kernohans have no choice but to get involved. And when a mysterious beauty from deep in the surrounding hills and a deadly stranger named Owen Chantry arrive, what had at first seemed like good fortune suddenly becomes a terrifying fight for life itself. Louis L’Amour’s Lost Treasures is a project created to release some of the author’s more unconventional manuscripts from the family archives. In Louis L’Amour’s Lost Treasures: Volumes 1, Beau L’Amour takes the reader on a guided tour through many of the finished and unfinished short stories, novels, and treatments that his father was never able to publish during his lifetime. L’Amour’s never-before-seen first novel, No Traveller Returns, faithfully completed for this program, is a voyage into danger and violence on the high seas. These exciting publications will be followed by Louis L’Amour’s Lost Treasures: Volume 2. Additionally, many beloved classics will be rereleased with an exclusive Lost Treasures postscript featuring previously unpublished material, including outlines, plot notes, and alternate drafts. These postscripts tell the story behind the stories that millions of readers have come to know and cherish.

This reference work presents useful information for every known film and television episode drawn from a Louis L'Amour work. Chronologically arranged, entries include production information, cast, credits, a synopsis, a description of the L'Amour source used, and the author's commentary. A brief biography of L'Amour, numerous photographs, and an extensive bibliography complement.

The politics of popular westerns are surprising in substance and significance, especially of late. Cowboy Politics shows how westerns in literature, cinema, and television face the challenges of Western Civilization even more than the perils of American frontiers. Its strategy is to compare key westerns with major theories of modern and postmodern politics. So it analyzes novels from Owen Wister to Zane Grey and Larry McMurtry. It focuses on films from the western revival beginning in the 1990s and featuring Clint Eastwood’s Unforgiven, while its interest in TV stretches from singing cowboys and Gunsmoke to David Milch’s Deadwood. Critics are apt to find in westerns the modern politics of Thomas Hobbes and John Locke. They tap devices of individuality, rationality, contract, sovereign enforcement, and representation to overcome the chaotic violence of a wild zone. Cowboy Politics examines how westerns often find such measures insufficient to tame the West as a culture of honor and anger that deteriorates into feud-al vengeance. Instead westerns see the West as the sunset land that is already growing old and moving on. So westerns seek fresh starts informed by comparing civilizations more than demonizing savages. Westerns worry that modern politics devolve into exploitation, oppression, spectacle, and terror. So they pursue supplements in such postmodern politics as republicanism, perfectionism, populism, feminism, and environmentalism. Especially westerns explore politics of persuasive speech-in-action-in-public, doing beauty, and self-reliance in the modes of Hannah Arendt and Ralph Waldo Emerson. The first two chapters of Cowboy Politics explain how westerns do political theory for popular audiences by making many of our myths: the symbolic stories of individuals and communities which we live daily. The next three chapters trace the initially modern theories of government in many westerns. Then western turns to republican honor, rhetoric, response-ability, and character tracking occupy the following four chapters. And these set the stage for another four chapters on western attention to postmodern terror, mythmaking, celebrity, spectacle, and forgiveness. The final two chapters analyze how “late,” “satirical,” and “transformative” westerns develop realist defenses for their surprisingly postmodern politics.