The Texas-Mexico border is trouble. Haphazardly splashing across the meandering Rio Grande into Mexico is--or at least can be--risky business, hazardous to one's health and well-being. Kirby W. Dendy, the Chief of Texas Rangers, corroborates the sobering reality: "As their predecessors for over one hundred forty years before them did, today's Texas Rangers continue to battle violence and transnational criminals along the Texas-Mexico border." In Riding Lucifer's Line, Bob Alexander, in his characteristic storytelling style, surveys the personal tragedies of twenty-five Texas Rangers who made the ultimate sacrifice as they scouted and enforced laws throughout borderland counties adjacent to the Rio Grande. The timeframe commences in 1874 with formation of the Frontier Battalion, which is when the Texas Rangers were actually institutionalized as a law enforcing entity, and concludes with the last known Texas Ranger death along the border in 1921. Alexander also discusses the transition of the Rangers in two introductory sections: "The Frontier Battalion Era, 1874-1901" and "The Ranger Force Era, 1901-1935," wherein he follows Texas Rangers moving from an epochal narrative of the Old West to more modern, technological times. Written absent a preprogrammed agenda, Riding Lucifer's Line is legitimate history. Adhering to facts, the author is not hesitant to challenge and shatter stale Texas Ranger mythology. Likewise, Alexander confronts head-on many of those critical Texas Ranger histories relying on innuendo and gossip and anecdotal accounts, at the expense of sustainable evidence--writings often plagued with a deficiency of rational thinking and common sense. Riding Lucifer's Line is illustrated with sixty remarkable old-time photographs. Relying heavily on archived Texas Ranger documents, the lively text is authenticated with more than one thousand comprehensive endnotes.

In the annals of American western history, few people have left behind such lasting and far-reaching fame as Billy the Kid. Some have suggested that his legend began with his death at the end of Pat Garrett’s revolver on the night of July 14, 1881, in Fort Sumner. Others believe that the legend began with his unforgettable jailbreak in Lincoln, New Mexico, several months prior on April 28, 1881. Others still insist his legend began with the publication in 1926 of Walter Noble Burns’s book, The Saga of Billy the Kid. James B. Mills has left no stone unturned in his twenty-year quest to tell the complete story of Billy the Kid. He explores the Kid’s disputable origins, his family’s migration from New York into the Southwest, and how he became an orphan, as well as his involvement in the Lincoln County War, his outlaw exploits, and his dealings with Governor Lew Wallace. Mills illuminates the Kid’s relationships with his enemies, lovers, and numerous friends to contextualize the man’s character beyond his death and legacy. Most importantly, Mills is the first historian to fully detail the Kid’s relations with New Mexicans of Spanish descent. So, the question remains, who really was the person the world knows as Billy the Kid? Was he more than a young reprobate committed to a life of crime, who relished becoming a famous outlaw and cold-blooded, self-absorbed “sociopath” or “thug” that some still prefer him—need him—to be? Or was he in fact, the generally good-hearted, generous, courteous, young vigilante that so many remembered with considerable fondness, who ultimately preferred the company of the more peaceable Hispanic population than his own Anglo people? In this groundbreaking biography, Mills takes the reader closer to the flesh-and-blood human being named Henry McCarty, alias William H. Bonney, than ever before.

Originally published: New York: Simon & Schuster, 2011.

Bad Company and Burnt Powder is a collection of twelve stories of when things turned "Western" in the nineteenth-century Southwest. Each chapter deals with a different character or episode in the Wild West involving various lawmen, Texas Rangers, outlaws, feudists, vigilantes, lawyers, and judges. Covered herein are the stories of Cal Aten, John Hittson, the Millican boys, Gid Taylor and Jim and Tom Murphy, Alf Rushing, Bob Meldrum and Noah Wilkerson, P. C. Baird, Gus Chenowth, Jim Dunaway, John Kinney, Elbert Hanks and Boyd White, and Eddie Aten. Within these pages the reader will meet a nineteen-year-old Texas Ranger figuratively dying to shoot his gun. He does get to shoot at people, but soon realizes what he thought was a bargain exacted a steep price. Another tale is of an old-school cowman who shut down illicit traffic in stolen livestock that had existed for years on the Llano Estacado. He was tough, salty, and had no quarter for cow-thieves or sympathy for any mealy-mouthed politicians. He cleaned house, maybe not too nicely, but unarguably successful he was. Then there is the tale of an accomplished and unbeaten fugitive, well known and identified for murder of a Texas peace officer. But the Texas Rangers couldn't find him. County sheriffs wouldn't hold him. Slipping away from bounty hunters, he hit Owlhoot Trail.

With her striking looks, the raven-haired, dark eyed Ruth Roman had an air of sophistication that made her seem sexy yet wholesome. She had to strive harder than most to establish herself as a leading actress in Hollywood during its glory years and finally broke through in 1949 with her role in Champion. As one of the last Warner Bros. contract players, she appeared in Alfred Hitchcock's classic Strangers on a Train. Seen at her best in strong parts, such as the ambitious Ronda Castle in Anthony Mann's The Far Country or as a modern-day Lady Macbeth, she enjoyed a varied career as a freelancer before re-inventing herself as a character actress of note on television. A remarkable return to the screen in the bizarre psycho-horror The Baby (1973) assured her of cult status. This is the first book dedicated to a committed but often undervalued actress who is fondly remembered by fans of classic film. More than a biography, it seeks to contextualize the actress within her own time, illuminate her Hollywood experience and celebrate her extensive career.

They say everything is bigger in Texas, and the Lone Star State can certainly boast of immense ranches, vast oil fields, enormous cowboy hats, and larger-than-life heroes. Among the greatest of the latter are the iconic Texas Rangers, a service that has existed, in one form or another, since 1823. Established in Waco in 1968, the Texas Ranger Hall of Fame and Museum continues to honor these legendary symbols of Texas and the American West. While upholding a proud heritage of duty and sacrifice, even men who wear the cinco peso badge can have their own champions. Thirty-one individuals—whose lives span more than two centuries—have been enshrined in the Texas Ranger Hall of Fame. In The Ranger Ideal Volume 2: Texas Rangers in the Hall of Fame, 1874-1930, Darren L. Ivey presents capsule biographies of the twelve inductees who served Texas in the latter half of the nineteenth century. Ivey begins with John B. Jones, who directed his Rangers through their development from state troops to professional lawmen; then covers Leander H. McNelly, John B. Armstrong, James B. Gillett, Jesse Lee Hall, George W. Baylor, Bryan Marsh, and Ira Aten—the men who were responsible for some of the Rangers’ most legendary feats. Ivey concludes with James A. Brooks, William J. McDonald, John R. Hughes, and John H. Rogers, the “Four Great Captains” who guided the Texas Rangers into the twentieth century.

Though often thought of as primarily a male vehicle, the film noir offered some of the most complex female roles of any movies of the 1940s and 1950s. Stars such as Barbara Stanwyck, Gene Tierney and Joan Crawford produced some of their finest performances in noir movies, while such lesser known actresses as Peggie Castle, Hope Emerson and Helen Walker made a lasting impression with their roles in the genre. These six women and 43 others who were most frequently featured in films noirs are profiled here, focusing primarily on their work in the genre and its impact on their careers. A filmography of all noir appearances is provided for each actress.