Forty Guns West

Preacher is a wanted man in this straight-shooting Western adventure from the New York Times and USA Todaybestselling author of Absaroka Ambush. A Friendly Place . . . During a trip back east for a family reunion, Preacher learns that even the civilized Midwest can attract a motherlode of trouble . . . especially when a gang of local bully boys decides to pick a fight. Now, wealthy landowner Elam Parks lies dead—and there’s a $5,000 reward on the head of the man accused: the first mountain man. . . . To Die The fortune in blood money has dispatched a small army of bounty hunters after Preacher. Now, back in his once-peaceful homestead in the High Lonesome, as he sights down the barrel of his ’33 Hall North breechloader, Preacher is ready for target practice. And he can’t think of a more scenic place to pick off the bloodthirsty manhunters, one by one . . . Praise for the novels of William W. Johnstone “[A] rousing, two-fisted saga of the growing American frontier.”—Publishers Weekly on Eyes of Eagles “There’s plenty of gunplay and fast-paced action as this old-time hero proves again that a steady eye and quick reflexes are the keys to survival on the Western frontier.”—Curled Up with a Good Book on Dead Before Sundown

During a trip back east, Preacher finds himself in the middle of a bloody showdown when he is falsely accused of murdering a wealthy landowner, and he must fend off the true killers as well as greedy bounty-hunters. Reissue.

When Preacher takes a trip back East, the First Mountain Man finds himself in the middle of a bloody showdown. Wealthy landowner Elam Parks lies dead at the hands of a gang of local bully boys, and there's a $5,000 reward on the head of the man accused of the crime. Preacher's the prime suspect--but he's ready to pick off the bloodthirsty bounty hunters who are after him, one by one.

During a trip back East, Preacher learns that even the civilized Midwest can attract a motherlode of trouble, especially when a gang of bully boys decides to pick a fight. Now a wealthy landowner lies dead and there's a reward on Preacher's head.

In 1975, David Thomson published his Biographical Dictionary of Film, and few film books have enjoyed better press or such steady sales. Now, thirty-three years later, we have the companion volume, a second book of more than 1,000 pages in one voice—that of our most provocative contemporary film critic and historian. Juxtaposing the fanciful and the fabulous, the old favorites and the forgotten, this sweeping collection presents the films that Thomson offers in response to the question he gets asked most often—“What should I see?” This new book is a generous history of film and an enticing critical appraisal written with as much humor and passion as historical knowledge. Not content to choose his own top films (though they are here), Thomson has created a list that will surprise and delight you—and send you to your best movie rental service. But he also probes the question: after one hundred years of film, which ones are the best, and why? “Have You Seen . . . ?” suggests a true canon of cinema and one that’s almost completely accessible now, thanks to DVDs. This book is a must for anyone who loves the silver screen: the perfect confection to dip into at any point for a taste of controversy, little-known facts, and ideas about what to see. This is a volume you’ll want to return to again and again, like a dear but argumentative friend in the dark at the movies.

Music in the Western: Notes from the Frontier presents essays from both film studies scholars and musicologists on core issues in western film scores: their history, their generic conventions, their operation as part of a narrative system, their functioning within individual filmic texts and their ideological import, especially in terms of the western’s construction of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic setting, prototypical male protagonist and core American values. Music in the Western examines these conventions and the scores that have shaped them. But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild Bill, There Will Be Blood and No Country for Old Men. Contributors Ross Care Corey K. Creekmur Yuna de Lannoy K. J. Donnelly Caryl Flinn Claudia Gorbman Kathryn Kalinak Charles Leinberger Matthew McDonald Peter Stanfield Mariana Whitmer Ben Winters The Routledge Music and Screen Media Series offers edited collections of original essays on music in particular genres of cinema, television, video games and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.