Showing posts with label Louis L'Amour. Show all posts
Showing posts with label Louis L'Amour. Show all posts

Wednesday, February 14, 2024

EDUCATION OF A WANDERING MAN BY LOUIS L'AMOUR


I recently read Education of a Wandering Man, by Louis L’Amour (1908-1988), published in 1989.  It is a remarkable book.

It puts me in mind of the old Chinese legend about tests: the student sits down and simply writes down everything he knows.  L’Amour doesn’t quite do that, but he does create a fascinating account of his own intellectual development, and his deep and passionate engagement with reading.  If you are at all interested in the effect that reading has, and what a tool it can be to enlightenment, then certainly read this fascinating book.

L’Amour’s engagement with reading in his early life is not surprising when one looks at his major characters.  The typical L'Amour hero was a strapping young man in his late teens or early 20's, a romantic, nomadic figure dedicated to self-improvement. His character Tell Sackett carried law books in his saddlebags; Bendigo Shafter read Montaigne, Plutarch and Thoreau; and Drake Morrel, a one-time riverboat gambler, read Juvenal in the original Latin. 

Much like L’Amour, himself.

 

L’Amour looked like one of his own literary creations – big, ruggedly handsome and self-contained.  He was born Louis Dearborn L'Amour on March 22, 1908, in Jamestown, ND. He was a son of a veterinarian who doubled as a farm-machinery salesman, grandson of a Civil War veteran and great-grandson of a settler who had been scalped by Sioux warriors.

He quit school at 15, roaming the West working as a miner, rancher and lumberjack before taking off for the Far East as a seaman. By the time he was 20, he had skinned cattle in Texas, lived with bandits in Tibet and worked on an East African schooner.  He managed to survive a walk through Death Valley on his own with little water, and rode the rails as a hobo.  He worked as a longshoreman, a lumberjack, an elephant handler, a fruit picker and an officer on a tank destroyer in World War II. He had also circled the world on a freighter, sailed a dhow on the Red Sea, been shipwrecked in the West Indies and been stranded in the Mojave Desert, and won 51 of 59 fights as a professional boxer.  And all the time he was on the road, he was reading: Shakespeare, Byron, Wilde, Ibsen, Turgenev, Dostoevsky, Sheridan, Bacon, Tolstoy … and many, many others too numerous to mention.  L’Amour provides his reading list during the period at the end of the book and, frankly, it made me deeply ashamed of my own profound failings as a reader.

 

I read Balzac, Victor Hugo and Dumas before I ever read Zane Grey, he said in an interview.  His first book was not a Western, but a collection of poems, published in 1939.  But despite his immense erudition, L’Amour could not reconcile the disdain the literary elite had (and has) for novels about the Western experience.  If you write a book about a bygone period that lies east of the Mississippi River, then it's a historical novel.  If it's west of the Mississippi, it's a western, a different category. There's no sense to it.

Here is L’Amour writing about talking to people of the Old West during his wanderings in the 1930s:  Yet there was no better time to learn about what the West had actually been.  Many of those who lived it were still alive, and as the years of their future grew fewer, they were more willing to talk of what had been.  Old feuds were largely forgotten, and time had given the past an aura.

The old cowboy might appear to be as dry as dust, he might scoff at some of the stories, but he was a figure of romance in his own mind (although he would never have admitted it) or he would not have become a cowboy in the first place.  As the years slipped away, he began to want to tell his stories, and I was often there, a willing listener, knowing enough to sift the truth from the romance.

In every town there was at least one former outlaw or gunfighter, an old Indian scout or a wagon master, and each with many stories ready to tell.

One story engendered another, and sitting on a bench in front of a store I’d tell of something I knew or had heard and would often get a story in return, sometimes a correction.  The men and woman who lived the pioneer life did not suddenly disappear; they drifted down the years, a rugged, proud people who had met adversity and survived.  Once, many years later, I was asked in a television interview what was the one quality that distinguished them, and I did not come up with the answer I wanted.  Later, when I in the hotel alone, it came to me.

Dignity.

This is great stuff, and I sympathize with L’Amour’s acute bibliomania:  A wanderer I had been through most of my early years, and now that I had my own home, my wandering continued, but among books.  No longer could I find most of the books I wanted in libraries.  I had to seek them out in foreign or secondhand bookstores, which was a pleasure in itself.  When seeking books, one always comes upon unexpected treasures or books on subjects that one has never heard of, or heard mentioned only in passing.

Now I know what I wished to learn and could direct my education with more intelligence.

Slowly I began to place on my shelves the books I wanted.  When the shelves were first installed, one workman doubted they would ever be filled, yet a few years later they were crammed with books, filling every available niche.

What I find most refreshing here is L’Amour’s own determination to educate himself, his active engagement with his own intellectual development, and for the breadth of his knowledge.  Here is a wonderfully prescient passage: If we had only Greenwich Village as an example, it would tell us nothing of the rest of America, yet often one discovers a writer, or several of them, giving just such a narrow picture.  One should tread warily when using the life-style of any group as an example of the thinking or practice of a people.

This is a warm, wise and essential book.  Highly recommended.

 

Monday, June 15, 2020

My 10 favorite Louis L’Amour novels by Kaye Spencer #louislamour #westernfictioneers #westerns



It seems altogether fitting and proper to remember Louis L'Amour for my June article, since June 10, 1998 was, sadly, the day he passed away. There are any number of biographies about him on the Internet, so I won't include a bio here, but his website has entertaining reading about him: Louis L'Amour – Website  http://www.louislamour.com/

The first book of his I read was Last Stand at Papago Wells during my junior high years (c. 1966 – 1968). Long about 10th grade, my literature teacher looked down her nose at his books, because they were so far below my reading level that I wasn't challenging my brain or expanding my literary knowledge. We agreed to disagree, because I was reading plenty of challenging books: The Godfather, Catch-22, Lost Horizon, The Man in the Iron Mask, Pride and Prejudice... You get the idea.

When she finally admitted she'd never read any of his novels, I challenged her to read my favorites at the time (five or so – don’t recall which ones). She agreed if I'd read Leo Tolstoy's War and Peace.

I read War and Peace and went on to read other books by Russian authors. While she didn't love Louis L'Amour, she admitted for reluctant readers, especially boys, his books had value.

So, Win-Win. She never openly criticized my choice of books again.

This is my commemorative Louis L'Amour coin (front and back).

 
Front Inscription: Louis L'Amour

Back Inscription: The Dream is in the mind – Realization in the Hand – Act of Congress 1981
(The image is a mountain in the background with a miner/frontiersman walking ahead of his pack mules.)

 Here are my Top 10 favorite Louis L'Amour books.

  1. Last Stand at Papago Wells (1957)
  2. The Key-Lock Man (1965)
  3. The Man Called Noon (1970)
  4. Down the Long Hills (1968)
  5. How the West was Won (1962)
  6. Conagher (1969)
  7. Brionne (1968)
  8. The Sackett Brand (1965)
  9. Sitka (1957)
  10. The Haunted Mesa (1987)



What are your favorite Louis L'Amour books? If you have a Louis L'Amour anecdote or story, it would be great if you'd share your story in the comments or leave a comment on the Facebook post of this article.


Until next time,

Kaye Spencer



Stay in contact with Kaye—












Monday, August 12, 2019

My Favorite Song by Kaye Spencer #westernfictioneers #folkmusic #songs



We all have songs that mean something extra special to us whether by our associating them with a special event, a loved one, a precious moment, a situation, etc. In fact, if you’re like me, I could go on for hours singing the words to all the songs that are near and dear to me.

 But there is one song. The one song that tops all the others. The that brings a tear to my eye and a warm fuzzy feeling in my heart.


Hints:

“My” song is an American rendition of Greensleeves, which is an old English folk song of complicated, and not entirely identifiable origins. Greensleeves was a familiar song (tune) in Shakespeare’s day, because he referenced it in his play, 'The Merry Wives of Windsor' in 1595. Falstaff: “Let the sky rain potatoes! Let it thunder to the tune of ‘Greensleeves’!”

There is a legend that the original song was written by Henry VIII for his future wife, Anne Boleyn, but that is apparently a myth as there is evidence the song was around before Henry’s time.

By 1690, or so, the original song was becoming associated with Christmas and New Year’s. Then by the 19th century, any Christmas songbook worth its salt included some version of the original folk song (lyrics and tune) as a carol. Elvis Presley, Tom Jones, and a host of other crooners have recorded their renditions of Greensleeves.

Here is a clip from The Rifleman with Johnny Crawford singing Greensleeves.



As a Christmas song, we know it as What Child is This? which has also been recorded by too many artists to list here.

For those of you desiring more history about Greensleeves, click HERE, HERE, and HERE. 

My favorite song is A Home in the Meadow. The lyrics were written by Sammy Cahn and the song was performed by Debbie Reynolds in the 1962 western movie (and book by same title written by Louis L’Amour), How the West was Won.

For your viewing and listening pleasure, here is the YouTube clip from the movie. If you've not read the book How the West was Won AND watched the 1962 movie of the same name, you should remedy those most egregious oversights as soon as you can. You can thank me later. *wink*





Until next time,

Kaye Spencer

Writing through history one romance upon a time




Stay in touch with Kaye

Amazon Author Page | BookBub | Blog | Twitter | Pinterest






Wednesday, June 19, 2019

CONAGHER AND CINDERELLA--THE DEVIL'S IN THE DETAILS PART 4 by CHERYL PIERSON

Have you ever read a story that made you wonder why the author spent such a long, boring time describing an item or place that seemed of little importance to the story?

Usually when that happens, it’s because its importance will be revealed later on, or some scene will call up that particular memory or description for some reason—and its usually a pretty darn good reason!

Let’s look at Cinderella’s slipper as our first example for this. Of course, a glass slipper would be highly unusual, wouldn’t it? In fact, most likely, there would be no other slippers like that one pair!

This particular pair of shoes serves as a symbol for the entire story—improbable things happening to a young woman who has been treated so terribly for so long that lead to her ultimate happiness—it’s a story we can all relate to!


The magic that brings her happiness is not just going to the ball and all the wonderful things that happened on the way—the beautiful gown, the carriage, and so on—the true magic for Cinderella is falling in love. And how can the two lovers hope to be reunited? Well, if it weren’t for those exquisitely, perfectly-fitting glass slippers, everything else that came before—all the magic, hopes, and dreams—could have amounted to nothing at all. Everything hinges on the glass slipper fitting!

Hence the description of the slippers themselves, carrying the slipper on a pillow (which I always believed was taking a terrible chance!) and the endless search and trying on of the slipper throughout the kingdom.


The slipper is all-important because it is the proof that she is “the one” –and it has come to symbolize the very story itself. When we see a picture of the glass slipper, we know it “means” Cinderella, right?

Think about Lous L’Amour’s iconic western, Conagher. Two lonely people meet and fall in love through heartfelt notes that Evie, the heroine, writes and ties to tumbleweeds. They could be found and read by anyone—or no one at all.



http://g.tinyurl.com/y6y8yj33

But the fact that Conagher feels they speak directly to him, shows us how important what she did is to the story. This is further borne out when, in conversation with him, she uses a phrase she’s written on one of the notes—and he knows immediately it is she who has been writing them.




Loneliness and the vast emptiness of the land is a common theme throughout the book. It was unimaginable to her that Conagher would be the one who found “that note” – the one she repeated the phrase from in conversation with him—but it wasn’t impossible. And his line to her is one of the most romantic of all time, in my opinion.




He takes one of the notes out of his pocket and asks if she wrote it, and she says yes, she did. She tells him she was just so lonely she had to talk to someone, even if no one was there to hear. He says, "There was, Evie, there was me." 


The details of:

1. The land around them and their feelings about the emptiness and aloneness of where they are...
2. Evie’s acting on those feelings by just writing them down on paper and tying them to tumbleweeds...
3. The act of Evie repeating the phrase in conversation she’d used on the note Conagher found...

all add up to make this story so special and memorable—and one you will not want to put down once you start reading!

Conagher isn’t a fairy tale, but it does have its own brand of magical connections that lead to love. The details and descriptions in both of these stories, as different as they are, give the reader insights that the author, in both cases, was masterful in providing throughout the story!

Finally, another couple of tales that come to mind are two short stories many of us read in our high school English classes—The Necklace, by Guy De Maupassant, and The Gift of the Magi, by O. Henry. Do you remember these—both based on objects that were described in great detail—and the twists at the end that left you gasping in surprise?


If you haven’t read them, or even if it’s been a while, they are always good to revisit and are classic examples of why detailed descriptions of “things” can be so important to a story’s premise.

Can you think of an example in your reading where the detailed description of something had deep importance to the story?

Wednesday, April 17, 2019

THE DEVIL'S IN THE DETAILS--PART 3--SETTINGS by CHERYL PIERSON


Are you a reader who loves descriptions and details of settings? Glittering ballrooms, the bone-chilling cold of a winter in the Rockies…or maybe the oppressive, killing heat of the desert? What about something idyllic, like a river or creek babbling through the woods? A beautiful rose garden, or even the ugly side of description—such as barren prison walls, or a Civil War battlefield?
It depends on the story, doesn’t it, and again, how much importance those descriptions have on the impact of the action, and the outcome of the story.

Let’s use a ball as our example.
If you’ve never been to an 1800’s ball—and none of us have—we need to know at least the barest details.

Five basic things we need to know are:
What is a ball?
Why is the ball being given?
Who will be invited?
When will the ball be given?
Where will it be held?

That’s enough for some stories. But the main question is—how important is the ball to the plot?

This is where layering comes in—and this one scene, and the details it contains—can be vital to what comes next, or even many scenes later.
So many things can happen at a ball!

Guests can meet for the first time, uninvited guests can show up, clothing can have significance, music can bring back memories, the food can even be poisoned!

Or, the ball can just be a ball, like the old saying attributed to Sigmund Freud, “Sometimes a cigar is just a cigar…” –and if that’s the case, then tedious description and intricate detail is wasted because the ball is just a vehicle to get from one scene in the story to the next, and has no real underlying importance.

Describing the details of the clothing worn is sometimes distracting as it pulls us away from the action. We may be reading about a blue satin gown when we need to be concentrating on the man who lurks in the shadows. Too much description can bog down the reader and deaden the story rather than bring it to life.

Why? Because deep description of the things such as décor, clothing, and meals stop the action of the characters. The plot “takes a break” while our minds process all of the description of the scenery, the meals, the clothing. In this case, again, sometimes, “less is more” and we need to let the reader’s mind fill in much of that kind of detail.

Consider this: We know certain facts—a ball costs a lot of money to host. So we already understand that those who are invited are most likely people who move in the same upper crust social circles. Therefore, we know they, too, have money, so are appropriately dressed, arrive in style, and are schooled in proper societal customs. One excellent way to cut through the “red tape” of description (of things we already know) is to describe something that is out of place, or “not right” as this reminds us of what should be—and those details of descriptions we’re already aware of.

Perhaps an imposter at the ball commits a social faux pas without realizing it, alerting others to the fact she isn’t who she pretends to be. Maybe an unlikely hero comes to her aid quickly, offering an excuse, or correcting the mistake before others notice.
This scenario does several things for the story that simple description can’t achieve.

1. Points out the discrepancy in what should be and what is.
2. Allows our characters interaction, and possibly dialogue and observation, rather than the author filling the page with scenic description.
3. Allows the reader the opportunity to learn more about the characters and their personalities through this interaction, and can be a vehicle to reveal something of importance.
4. Can possibly further the action during such a scene rather than slowing it by miles of scenic description.

This is not to say that there isn’t a time and a place for detailed descriptions of settings! We can’t call ourselves authors and take the “easy” way out by saying, “It was a ball like any other” by way of description, unless—we put it in the right context.

How about this:
Jake looked around at the opulent ballroom –the surroundings were familiar in a tiresome, cloying way. Or…maybe was jaded. It was a ball like any other—except for one thing. Something that made him catch his breath and inwardly let go a streak of curses he’d love to shout to the skies. She was here. The woman he’d thought he’d never see again…

Well, anything can happen now, can’t it? Maybe she’s wearing an inappropriate shade of red amidst a sea of violet and blue. There are so many ways to make setting come alive without endless description that many readers become bored with and skim over.
If you read my last installment of this blog series about main characters, the examples I used from Shane (Jack Schaefer) and St. Agnes’ Stand (Tom Eidson) are also prime examples of description of setting as well as character.

But here’s another good one I really think is wonderful from Conagher, by Louis L’Amour. In this story, Evie from “back East” has come out west to marry a man with two children. Evie tries to make the best of things, but she lives in fear at first. The land is so different, After she’s been there a while, she finds there is a beauty in her surroundings she had to grow to love, in time.

As L’Amour describes the heroine's (Evie) dismal hopelessness at the land her husband (Jacob) has brought her to, we wonder how she will survive. Yet, Jacob has plans, sees the possibilities that Evie cannot, or will not see. The underlying message is, "The land is what we make of it."

As the story continues, she begins to appreciate the beauty of the prairie, while acknowledging the solitary loneliness of her existence. She plants a garden, nurturing the plants, and gradually she sees the farm being shaped into a good home from the ramshackle place she'd first laid eyes on.

The land is beautiful, but unforgiving. Her husband is killed in a freak accident, and for months she doesn't know what has happened to him. She faces the responsibility of raising his two children from a previous marriage alone.

In her loneliness, she begins to write notes describing her feelings and ties them to tumbleweeds. The wind scatters the notes and tumbleweeds across the prairie. Conagher, a loner, begins to wonder who could be writing them, and slowly comes to believe that whomever it is, these notes are meant for him.

At one point, visitors come from back East. One of them says to Evie something to the effect of "I don't know how you can stand it here."
This is Evie's response to her:

"I love it here," she said suddenly. "I think there is something here, something more than all you see and feel…it's in the wind.

"Oh, it is very hard!" she went on. "I miss women to talk to, I miss the things we had back East–the band concerts, the dances. The only time when we see anyone is like now, when the stage comes. But you do not know what music is until you have heard the wind in the cedars, or the far-off wind in the pines. Someday I am going to get on a horse and ride out there"–she pointed toward the wide grass before them–"until I can see the other side…if there is another side."

The land, at first her nemesis, has become not only a friend, but a soulmate. L’Amour gives us this description through Evie’s eyes and feelings, not in writing about it from his perspective as the author.

Think of your own writing projects, and books you've read. What importance do you give setting in description, plot, even characterization? Within 40 pages of 'Conagher', we understand that the land, with all its wild beauty and dangers has become enmeshed in Evie's character. She can't leave it, and it will never leave her.

Endless, detailed description can’t do what L’Amour does through Evie’s eyes in a very few sentences. Do you have a favorite description of a setting you've read about or written about?




Monday, March 11, 2019

March Old West Trivia by Kaye Spencer #WesternFictioneers #trivia #OldWestHistory



Just for fun, here are twenty tidbits of Old West history trivia for the month of March.



March 2, 1836 - Texas Independence Day

March 6, 1836 - Battle of the Alamo

Ballad of the Alamo, Marty Robbins



March 2, 1861 - John Butterfield's Overland Mail Company received a government contract for daily mail service to the west coast.

March 6, 1887 - Southern-Pacific Railroad offered a new one-way, $12 fare from Missouri to California. Price wars soon drove the fare down to $1.

March 7, 1885 - Kansas law made it illegal to drive Texas cattle into the state from March 1 to December 1 in an effort to stop hoof-and-mouth disease epidemic

March 9, 1916 - Revolutionary leader Pancho Villa attacked the border town of Columbus, New Mexico.
Pancho Villa
Unknown, Pancho villa horseback, marked as public domain,
more details on Wikimedia Commons

March 10, 1871 - Construction began on the Denver and Rio Grande Railway

March 11, 1867 - A pony express-type route was established between Helen, Montana Territory and Minneapolis, Minnesota

March 13, 1878 - Fire destroyed part of Abilene, Kansas

March 15, 1881 - Abilene, Texas was officially established by the Texas & Pacific Railroad along with west Texas cattlemen.

March 15, 1883 - Cheyenne, Wyoming: Lillie Langtry (Judge Roy Bean idolized her) played at the Cheyenne Opera House
Lillie Langtry
Wisconsin Center for Film and Theater Research, As in a Looking-Glass 1887,
marked as public domain, more details on Wikimedia Commons
March 16, 1903 - Judge Roy Bean died in Langry, Texas. He was 78. He called himself the "law west of the Pecos".
Judge Phantly Roy Bean, Jr.
Unknown, Phantly Roy Bean, Jr. ,
marked as public domain, more details on Wikimedia Commons
March 16, 1874 - In Missouri, Pinkerton Detective Agengy lost two agents in a shoot-out with the Younger Brothers. John Younger died.

March 18, 1880 - Arizona Territory: Southern Pacific Railroad of Arizona and New Mexico was completed to Tucson, which connected to the San Francisco & Pacific Railroad lines

March 18, 1852 - Wells, Fargo & Company was established in response to the California gold rush. Wells Fargo eventually becomes the leading freight and banking company in the west

March 19, 1848 - Born: Wyatt Earp in Monmouth, Illinois
Wyatt Earp (left) with friend John Clum (right) 1900 Nome, Alaska
Unknown, EarpinNome, marked as public domain, more details on Wikimedia Commons
March 19-1916 - Eight American planes take off in pursuit of Pancho Villa. This became the first United States air-combat mission.

March 20, 1880 - Tucson, Arizona Territory: The first Southern Pacific train arrived in town. The event caused quite a celebration.

March 22, 1886 - Seattle, Washington and Abilene, Kansas get electricity. An Abilene newspaper reporter wrote that he doubted the citizenry had a serious interest in using electric lights.

And a day of venerated observance in my family—


March 22, 1908 - Born: Western writer Louis L'Amour.

Louis L'Amour
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=31295523
 My top ten favorite Louis L'Amour books are:

1. The Man Called Noon.
2. The Keylock Man
3. How the West was Won
4. Down the Long Hills
5. Last Stand at Papago Wells
6. Conagher
7. The Shadow Riders
8. Sitka
9. Dark Canyon
10. Haunted Mesa

What is your favorite Louis L'Amour story?

Until next time,

Kaye Spencer






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