Santa Fe S Partner Classic Reprint

Excerpt from Santa Fe's Partner For certain, it was goats was right up at the head Of the procession in the Territory in my timeywhich was the time when the railroads was a-coming in - and in them days things was rough. The Greasers living there to start with wasn't what you might call sand-papered; and the kind of folks found in parts railroads has just got to, same as I've mentioned, don't set out to be extry smooth. Back East they talked about the higher civilization that was overflowing New Mexico; but, for a cold fact, the higher civilization that did its overflowing on that section mostly had a sherifi on its tracks right along up to the Missouri - and the rest Of the way done what it blame felt like, and used a gun. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"Whatever is felt upon the page without being specifically named there—that, one might say, is created." This famous observation appears inWilla Cather on Writing, a collection of essays and letters first published in 1949. In the course of it Cather writes, with grace and piercing clarity, about her own fiction and that of Sarah Orne Jewett, Stephen Crane, and Katherine Mansfield, among others. She concludes, "Art is a concrete and personal and rather childish thing after all—no matter what people do to graft it into science and make it sociological and psychological; it is no good at all unless it is let alone to be itself—a game of make-believe, of re-production, very exciting and delightful to people who have an ear for it or an eye for it."

With his characteristic talent for finding the connections between writing and the stuff of our lives (most notably in his earlier hit Maps of the Imagination: The Writer as Cartographer), Peter Turchi ventures into new, and even more surprising, territory. In A Muse and a Maze, Turchi draws out the similarities between writing and puzzle-making and its flip side, puzzle-solving. He teases out how mystery lies at the heart of all storytelling. And he uncovers the magic—the creation of credible illusion—that writers share with the likes of Houdini and master magicians. In Turchi’s associative narrative, we learn about the history of puzzles, their obsessive quality, and that Benjamin Franklin was a devotee of an ancient precursor of sudoku called Magic Squares. Applying this rich backdrop to the requirements of writing, Turchi reveals as much about the human psyche as he does about the literary imagination and the creative process. With the goal of giving writers new ways to think about their work and readers new ways to consider the books they encounter, A Muse and a Maze suggests ways in which every piece of writing is a kind of puzzle. The work argues that literary writing is defined, at least in part, by its embrace of mystery; offers tangrams as a model for the presentation of complex characters; compares a writer’s relationship to his or her narrator to magicians and wizards; offers the maze and the labyrinth as alternatives to the more common notion of the narrative line; and concludes with a discussion of how readers and writers, like puzzle solvers, not only tolerate but find pleasure in difficulty. While always balancing erudition with accessibility, Turchi examines the work of writers as various as A. A. Milne, Dashiell Hammett, Truman Capote, Anton Chekhov, Alison Bechdel, F. Scott Fitzgerald, Antonya Nelson, Vladimir Nabokov, Charles D’Ambrosio, Michael Ondaatje, Alice Munro, Thomas Bernhard, and Mark Twain, elaborating and illuminating ways in which their works expand and deliver on the title’s double entendre, A Muse and a Maze. With 100 images that range from movie stills from Citizen Kane and Butch Cassidy and the Sundance Kid to examples of sudokus, crosswords, and other puzzles; from Norman Rockwell’s famous triple self-portrait to artwork by Charles Richie; and from historical arcana to today’s latest magic, A Muse and a Maze offers prose exposition, images, text quotations, and every available form of wisdom, leading the reader step-by-step through passages from stories and novels to demonstrate, with remarkable clarity, how writers evolve their eventual creations.

Banged-Up Heart by Shirley Melis is an intimate and clear-eyed account of finding love late and losing it early—and of the strength it takes to fall madly in love a second time, be forced to relinquish that love too soon, and yet choose to love again. When her husband of thirty years dies suddenly, Shirley Melis is convinced she will never find another man like Joe. Then she meets John, a younger man who tells her during their first conversation that he has lived for many years with a rare but manageable cancer. She is swept off her feet in a whirlwind courtship, and within months, made brave by the early death of a friend's husband, she asks him to marry her! What follows is a year-long odyssey of travel and a growing erotic and creative partnership—until a mysterious bump on John's forehead proves to be one of several tumors in his brain and spine. The nine months that follow are filled with a life-threatening infection, three brain surgeries, radiation, and chemotherapy. Two years and one week after their wedding, John dies at the age of fifty-nine. More than just a love story or a memoir of mourning, Banged-Up Heart comes down solidly on the side of life. It takes you deep inside an ordinary woman, her deeply felt grief butting up against her desire for more than companionship: passion, sexual fulfillment, and self-realization. It bears eloquent witness to the wild trust it takes to fall madly in love and risk profound loss—a second time. Ultimately, it shows that it is possible to dance with a banged-up heart.

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