By the end of the 1960s, the Hollywood West of Tom Mix, Randolph Scott, and even John Wayne was passé—or so the story goes. Many film historians and critics have argued that movies portraying a mythic American West gave way to revisionist films that influential filmmakers such as Sam Peckinpah and Robert Altman made as violent critiques of the Western’s “golden years.” Yet rumors surrounding the death of the Western have been greatly exaggerated, says film historian Andrew Patrick Nelson. Even as the Wild Bunch and John McCabe rode forth, John Wayne remained the Western’s number one box office draw. How, then, could there have been a revisionist reckoning at a time when the Duke was still in the saddle? In Still in the Saddle, Nelson offers readers a new history of the Hollywood Western in the 1970s, a time when filmmakers tried to revive the genre by appealing to a diverse audience that included a new generation of socially conscious viewers. Nelson considers a comprehensive filmography of releases from 1969 to 1980 in light of the visual tropes and narratives developed and reworked in the genre from the 1930s to the present. In so doing, he reveals the complexity of what is probably the most interesting period in Western movie history. His incisive reevaluations of such celebrated (or infamous) films as The Wild Bunch and Heaven’s Gate and examinations of dozens of forgotten and neglected Westerns, including the final films of John Wayne, demonstrate that there was more to the 1970s Western than simple revision. Instead, we see not only important connections between canonical and lesser-known films of the period, but also continuities between these and older Westerns. Nelson believes an ongoing, cyclical process of regeneration thus transcends established divisions in the genre’s history. Among the books currently challenging the prevailing “evolutionary” account of the Western, Still in the Saddle thoroughly revises our understanding of this exciting and misunderstood period in the Western’s history and adds innovatively and substantially to our knowledge of the genre as a whole.

By the end of the 1960s, the Hollywood West of Tom Mix, Randolph Scott, and even John Wayne was passé—or so the story goes. Many film historians and critics have argued that movies portraying a mythic American West gave way to revisionist films that influential filmmakers such as Sam Peckinpah and Robert Altman made as violent critiques of the Western’s “golden years.” Yet rumors surrounding the death of the Western have been greatly exaggerated, says film historian Andrew Patrick Nelson. Even as the Wild Bunch and John McCabe rode forth, John Wayne remained the Western’s number one box office draw. How, then, could there have been a revisionist reckoning at a time when the Duke was still in the saddle? In Still in the Saddle, Nelson offers readers a new history of the Hollywood Western in the 1970s, a time when filmmakers tried to revive the genre by appealing to a diverse audience that included a new generation of socially conscious viewers. Nelson considers a comprehensive filmography of releases from 1969 to 1980 in light of the visual tropes and narratives developed and reworked in the genre from the 1930s to the present. In so doing, he reveals the complexity of what is probably the most interesting period in Western movie history. His incisive reevaluations of such celebrated (or infamous) films as The Wild Bunch and Heaven’s Gate and examinations of dozens of forgotten and neglected Westerns, including the final films of John Wayne, demonstrate that there was more to the 1970s Western than simple revision. Instead, we see not only important connections between canonical and lesser-known films of the period, but also continuities between these and older Westerns. Nelson believes an ongoing, cyclical process of regeneration thus transcends established divisions in the genre’s history. Among the books currently challenging the prevailing “evolutionary” account of the Western, Still in the Saddle thoroughly revises our understanding of this exciting and misunderstood period in the Western’s history and adds innovatively and substantially to our knowledge of the genre as a whole.

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The Prodigal Is Coming Home It's been a long time since Colt Stafford shrugged off his cowboy legacy for shiny Manhattan loafers and a promising career on Wall Street. But when stock market manipulations leave him financially strapped, the oldest son of legendary rancher Sam Stafford decides to return to the sprawling Double S ranch in Gray's Glen, Washington. He's broke, but not broken, and it's time to get his legs back under him by climbing into the saddle again. He doesn't expect to come home to a stranger pointing a loaded gun at his chest-- a tough yet beautiful woman that Sam hired as the house manager. Colt senses there's more to Angelina Morales than meets the eye, and he's determined to find out what she's hiding...and why. Colt's return brings new challenges. Younger brother Nick, who's longbeen Sam's right-hand man,isn't thrilled when Colt inserts himself into Double S affairs. And the ranch's contentious relationship with the town's people forces all the Stafford men to reconsider what it truly means to be a neighbor. As Wall Street recovers, will Colt succumb to the call of the financial district--or stay in the saddle for good?

Historically the world of equestrian travel has contained an exciting mixture of unique men and women. Some are adventurers seeking danger from the back of their horses. Others are travelers discovering the beauties of the countryside they slowly ride through. A few are searching for inner truths while cantering across desolate parts of the planet. Then there is Messanie Wilkins. She was acting on orders from the Lord! In 1954, at the age of 63, Wilkins had plenty to worry about. A destitute spinster in ill health, Wilkins had been told she had less than two years left to live, provided she spent them quietly. With no family ties, no money, and no future in her native Maine, Wilkins decided to take a daring step. Using the money she had made from selling homemade pickles, Wilkins bought a tired summer camp horse and made preparations to ride from the Atlantic coast to the Pacific Ocean. Yet before leaving she flipped a coin, asking God to direct her to go or not. When the coin came up heads several times in a row, one of America s most unlikely equestrian heroines set off. What followed was one of the twentieth century's most remarkable equestrian journeys. Accompanied by her faithful horse, Tarzan, Wilkins suffered through a host of obstacles including blistering deserts and freezing snow storms, yet never lost faith that she would complete her 7,000 mile odyssey. Last of the Saddle Tramps is thus the warm and humorous story of a humble American heroine bound for adventure and the Pacific Ocean. The classic tale is amply illustrated with photographs.

When your horse suddenly develops a performance problem or a bad attitude and neither seem to be remedied by new training techniques or medical care, you often face months—even years—of frustration and career limitation. Dr. Joyce Harman, veterinarian and respected saddle-fitting expert, states that 75 percent of horses with such issues are simply reacting to pain caused by ill-fitting saddles. And, as she explains in this thorough and highly illustrated book, poor saddle fit can be corrected with patience and know-how.

"When she discovers that big-headed rancher Jesse Pleasant has a softer side during a painfully awkward showing at a community date auction, former tech consultant Lily-Grace Leroux warms to the sparks flying between them, never dreaming that she could have her own happily ever after."--Provided by publisher.