Desert Gold Annotated Large Print

Passionate love and gold are a volatile mix. Add those together with romantic involvement with a business partner's daughter to create a dangerous situation for everyone involved.

The story describes the recent uprising along the border, and ends with the finding of the gold which two prospectors had willed to the girl who is the story's heroine.

Reproduction of the original.

This hour, when the day had closed and the lonely desert night set in with its dead silence, wasone in which Cameron's mind was thronged with memories of a time long past-of a home back inPeoria, of a woman he had wronged and lost, and loved too late. He was a prospector for gold, ahunter of solitude, a lover of the drear, rock-ribbed infinitude, because he wanted to be alone toremember.A sound disturbed Cameron's reflections. He bent his head listening. A soft wind fanned thepaling embers, blew sparks and white ashes and thin smoke away into the enshrouding circle ofblackness. His burro did not appear to be moving about. The quiet split to the cry of a coyote. Itrose strange, wild, mournful-not the howl of a prowling upland beast baying the campfire orbarking at a lonely prospector, but the wail of a wolf, full-voiced, crying out the meaning of thedesert and the night. Hunger throbbed in it-hunger for a mate, for offspring, for life. When itceased, the terrible desert silence smote Cameron, and the cry echoed in his soul. He and thatwandering wolf were brothers.Then a sharp clink of metal on stone and soft pads of hoofs in sand prompted Cameron toreach for his gun, and to move out of the light of the waning campfire. He was somewhere along thewild border line between Sonora and Arizona; and the prospector who dared the heat andbarrenness of that region risked other dangers sometimes as menacing.

Commonwealth of Letters examines midcentury literary institutions integral to modernism and postcolonial writing. Several organizations central to interwar modernism, such as the BBC, influential publishers, and university English departments, became important sites in the emergence of postcolonial literature after the war. How did some of modernism's leading figures of the 1930s-such as T.S. Eliot, Louis MacNeice, and Stephen Spender-come to admire late colonial and early postcolonial literature in the 1950s? Similarly, why did late colonial and early postcolonial writers-including Chinua Achebe, Kamau Brathwaite, Claude McKay, and Ngugi wa Thiong'o-actively seek alliances with metropolitan intellectuals? Peter Kalliney's original and extensive archival work on modernist cultural institutions demonstrates that this disparate group of intellectuals had strong professional incentives to treat one another more as fellow literary professionals, and less as political or cultural antagonists. Surprisingly, metropolitan intellectuals and their late colonial counterparts leaned heavily on modernist theories of aesthetic autonomy to facilitate their collaborative ventures. For white, metropolitan writers, T.S. Eliot's notion of impersonality could help recruit new audiences and conspirators from colonized regions of the world. For black, colonial writers, aesthetic autonomy could be used to imagine a literary sphere uniquely resistant to the forms of racial prejudice endemic to the colonial system. This strategic collaboration did not last forever, but as Commonwealth of Letters shows, it left a lasting imprint on the ultimate disposition of modernism and the evolution of postcolonial literature.

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