Bill Gardner: The Man, The Myth, The Legend ★★★★★ Bill Gardner's childhood in 1950s East London was plagued by chronic vulnerability, due to shocking parental abuse. He endured relentless school bullying, unbearable solitude, mental health problems and homelessness by the age of 14. No value, no self-respect, no self-worth. However, between the late '60s and the early '80s Bill had changed. He was now acknowledged by peers, and the authorities alike, as British football's 'public enemy number one', as the terrace movement reached its most savage. Following his terrace 'retirement', his depiction in acclaimed movies including 'Cass' and 'Rise of the Footsoldier', alongside his citation in books, blogs and social media, fuelled a celebrity status he never craved. Autograph hunters had become selfie-seekers, and his terrace activities the stuff of legend. Yet, until now, only the closest of the close have known the real Bill Gardner, the one-time shy teen who craved acceptance from the 'West Ham family' - in his words, "the only family I ever had". Bill often wore a metaphoric mask in battle, and now even expresses certain degrees of regret. For the first and final time, Bill Gardner: The Man, The Myth, The Legend peels away that mask to reveal how a tragic past led to a ferocious future. As ever, Bill recalls this 'nature vs nurture' struggle in a brutally honest way.

Traces the brief and violent life of the outlaw who gained notoriety throughout the West

"This might be the best Billy the Kid book to date." —Fritz Thompson, Albuquerque Journal In this revisionist biography, award-winning historian Michael Wallis re-creates the rich anecdotal saga of Billy the Kid (1859–1881), a young man who became a legend in his time and remains an enigma to this day. In an extraordinary evocation of the legendary Old West, Wallis demonstrates why the Kid has remained one of our most popular folk heroes. Filled with dozens of rare images and period photographs, Billy the Kid separates myth from reality and presents an unforgettable portrait of this brief and violent life.

Many years after the death of Billy the Kid, Deputy John William Poe, who was just outside the door when Sheriff Pat Garrett killed Billy, wrote out the whole story, which was published in a small edition. While certain statements made in the book by Poe are controversial, his account is a valuable document for anyone interested in Billy the Kid.

Not a story about me through their eyes then. Find the beginning, the slight silver key to unlock it, to dig it out. Here then is a maze to begin, be in. (p. 20) Funny yet horrifying, improvisational yet highly distilled, unflinchingly violent yet tender and elegiac, Michael Ondaatje’s ground-breaking book The Collected Works of Billy the Kid is a highly polished and self-aware lens focused on the era of one of the most mythologized anti-heroes of the American West. This revolutionary collage of poetry and prose, layered with photos, illustrations and “clippings,” astounded Canada and the world when it was first published in 1969. It earned then-little-known Ondaatje his first of several Governor General’s Awards and brazenly challenged the world’s notions of history and literature. Ondaatje’s Billy the Kid (aka William H. Bonney / Henry McCarty / Henry Antrim) is not the clichéd dimestore comicbook gunslinger later parodied within the pages of this book. Instead, he is a beautiful and dangerous chimera with a voice: driven and kinetic, he also yearns for blankness and rest. A poet and lover, possessing intelligence and sensory discernment far beyond his life’s 21 year allotment, he is also a resolute killer. His friend and nemesis is Sheriff Pat Garrett, who will go on to his own fame (or infamy) for Billy’s execution. Himself a web of contradictions, Ondaatje’s Garrett is “a sane assassin sane assassin sane assassin sane assassin sane assassin sane” (p. 29) who has taught himself a language he’ll never use and has trained himself to be immune to intoxication. As the hero and anti-hero engage in the counterpoint that will lead to Billy’s predetermined death, they are joined by figures both real and imagined, including the homesteaders John and Sallie Chisum, Billy’s lover Angela D, and a passel of outlaws and lawmakers. The voices and images meld, joined by Ondaatje’s own, in a magnificent polyphonic dream of what it means to feel and think and freely act, knowing this breath is your last and you are about to be trapped by history. I am here with the range for everything corpuscle muscle hair hands that need the rub of metal those senses that that want to crash things with an axe that listen to deep buried veins in our palms those who move in dreams over your women night near you, every paw, the invisible hooves the mind’s invisible blackout the intricate never the body’s waiting rut. (p. 72)