The Ox Bow Incident

Set in 1885, The Ox-Bow Incident is a searing and realistic portrait of frontier life and mob violence in the American West. First published in 1940, it focuses on the lynching of three innocent men and the tragedy that ensues when law and order are abandoned. The result is an emotionally powerful, vivid, and unforgettable re-creation of the Western novel, which Clark transmuted into a universal story about good and evil, individual and community, justice and human nature. As Wallace Stegner writes, [Clark's] theme was civilization, and he recorded, indelibly, its first steps in a new country.

"Based on widely scattered sources - personal papers and correspondence; Clark's unpublished stories and poems; and interviews with family members, friends, and others - Benson focuses on Clark's intellectual and literary life as a writer, teacher, and westerner, balancing his account of the experiences, people, and settings of Clark's life with an examination of Clark's complex psyche and the crippling perfectionism that virtually ended his career. He also offers an assessment of Clark's place in Western writing."--Jacket.

Here is E. L. Doctorow’s debut novel, a searing allegory of frontier life that sets the stage for his subsequent classics. Hard Times is the name of a town in the barren hills of the Dakota Territory. To this town there comes one day one of the reckless sociopaths who wander the West to kill and rape and pillage. By the time he is through and has ridden off, Hard Times is a smoking ruin. The de facto mayor, Blue, takes in two survivors of the carnage–a boy, Jimmy, and a prostitute, Molly, who has suffered unspeakably–and makes them his provisional family. Blue begins to rebuild Hard Times, welcoming new settlers, while Molly waits with vengeance in her heart for the return of the outlaw. Praise for Welcome to Hard Times “A forceful, credible story of cowardice and evil.”—The Washington Post “We are caught up with these people as real human beings.”—Chicago Sun-Times “Dramatic and exciting.”—The New York Times “Terse and powerful.”—Newsweek “A taut, bloodthirsty read.”—The Times Literary Supplement “A superb piece of fiction.”—The New Republic

“[A] remarkably absorbing, supremely entertaining joint biography” (The New York Times) from bestselling author Scott Eyman about the remarkable friendship of Henry Fonda and James Stewart, two Hollywood legends who maintained a close relationship that endured all of life’s twists and turns. Henry Fonda and James Stewart were two of the biggest stars in Hollywood for forty years, but they became friends when they were unknown. They roomed together as stage actors in New York, and when they began making films in Hollywood, they were roommates again. Between them they made such classic films as The Grapes of Wrath, Mister Roberts, Twelve Angry Men, and On Golden Pond; and Mr. Smith Goes to Washington, The Philadelphia Story, It’s a Wonderful Life, Vertigo, and Rear Window. They got along famously, with a shared interest in elaborate practical jokes and model airplanes, among other things. But their friendship also endured despite their differences: Fonda was a liberal Democrat, Stewart a conservative Republican. Fonda was a ladies’ man who was married five times; Stewart remained married to the same woman for forty-five years. Both men volunteered during World War II and were decorated for their service. When Stewart returned home, still unmarried, he once again moved in with Fonda, his wife, and his two children, Jane and Peter, who knew him as Uncle Jimmy. For his “breezy, entertaining” (Publishers Weekly) Hank and Jim, biographer and film historian Scott Eyman spoke with Fonda’s widow and children as well as three of Stewart’s children, plus actors and directors who had worked with the men—in addition to doing extensive archival research to get the full details of their time together. This is not just another Hollywood story, but “a fascinating…richly documented biography” (Kirkus Reviews, starred review) of an extraordinary friendship that lasted through war, marriages, children, careers, and everything else.

The western is arguably the most iconic and influential genre in American cinema. The solitude of the lone rider, the loyalty of his horse, and the unspoken code of the West render the genre popular yet lead it to offer a view of America's history that is sometimes inaccurate. For many, the western embodies America and its values. In recent years, scholars had declared the western genre dead, but a steady resurgence of western themes in literature, film, and television has reestablished the genre as one of the most important. In The Philosophy of the Western, editors Jennifer L. McMahon and B. Steve Csaki examine philosophical themes in the western genre. Investigating subjects of nature, ethics, identity, gender, environmentalism, and animal rights, the essays draw from a wide range of westerns including the recent popular and critical successes Unforgiven (1992), All the Pretty Horses (2000), 3:10 to Yuma (2007), and No Country for Old Men (2007), as well as literature and television serials such as Deadwood. The Philosophy of the Western reveals the influence of the western on the American psyche, filling a void in the current scholarship of the genre.

Girl in Landscape offers a genre-bending, mind-expanding tale of a new frontier. Jonathan Lethem's novel is a science-fiction Western that evokes both the brooding tragedy of John Ford's The Searchers and the sexual precocity of Nabokov's Lolita. Lethem's heroine is 14-year-old Pella Marsh, whose mother dies just as her family flees a post-apocalyptic Brooklyn for the frontier of a recently discovered planet. Hating her ineffectual father, and troubled by a powerful attraction to the virile but dangerous loner who holds sway over the little colony, Pella embarks on a course of discovery that will have tragic and irrevocable consequences - both for the humans in her community, and also for the mysterious and passive indigenous inhabitants, The Archbuilders.

A revealing, authorized biography of the star describes his long stage and film career, personal life and relationship with his children, friendships, and early life. Teichmann uses Henry Fonda's taped reminiscences, along with testimony from wives, kids, and friends. Fonda's private life and theater work are the focus, with much less film lore; and his problematic personality does emerge--genial, upright, yet workaholic and closed-off emotionally. But Hank's own voice is here--from touchingly timid to chilly and flinty--enough to make this a solid, endearing semi-memoir . . . especially for those who share Fonda's view of himself as a stage actor first and foremost.