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A critical encyclopedia of all "A" Western features shown in the United States from the advent of talkies to the book's publication date.
Biographical novel capturing Theodore Roosevelt's true adventures as a young rancher in the wild American West. Get a copy of "WESTERN FILMS: A Complete Guide" personally inscribed by the author, Brian Garfield.
Published in 1982, this guide to Western films provides, in one volume, a critical encyclopedia of all "A" Western features shown in the United States since the advent of talkies to 1982. Laisse Tomber les Filles by Vincent Giard (Colosse, 2010) – A collection of shorter pieces by Giard. DW: Could you tell us a little about your early life and how you got interested in westerns? DW: Tell us a little about your nonfiction work, and in particular your Dictionary of the Old West. PW: There have been a number of books written under other names besides Matt Chisholm and Cy James, some so hastily-written that I like to disown them.
PW: It must have started with me when my father read Zane Grey's The Rainbow Trail out loud to me.
PW: I don't think any writer could truthfully tell you how he goes about creating a character.
PW: It's essential that the central character of a story should be a hero -- not a principal character. McAllister has appeared in over thirty books, starting in 1963 with The Hard Men and ending up in 1974 with The McAllister Legend.
DW: Broadly speaking, what makes a western a western, and what do you think are the essential ingredients of a successful western story? The guide lists films alphabetically from "Abilene Town" to "Zandy's Bride"; each listing provides credits, information, and commentary. It begins with a comprehensive analysis of this uniquely American art form, including its origins, development, and future, comments on the foreign filmmakers who picked up the trend--culminating in the "Spaghetti Westerns"--and explores how the Western motif was used in "A" and "B" films for two very different audiences. The more than 100 illustrations include rare publicity photos, movie stills of famous actors, and lobby posters. English language Canadian comics get the attention from the English reading blogosphere, but there’s a whole world of French language comics from Quebec. The included artists are David Turgeon, Vincent Giard, Jimmy Beaulieu (who is also the publisher of Colosse), Julie Delporte, Sebastien Trahan, and Catherine Genest.
The images all have the look of being photo referenced (though not photo realistic), showing images of China. The art is almost exlcusively simple frontal images of the man and the woman punctuated by more detailed images of various cards in the game. Like the comics in Lecture a Vue these stories all leave much unsaid, in this case literally, as the two longest stories in the book eschew any real text.
The books are printed in very limited runs, so many of them are sold out (though Cinema, Jardin Botanique, and Lecture a Vue are still available), but they put out new volumes pretty frequently. If you no longer have access to the e-mail address associated with your account, contact Customer Service for help restoring access to your account. For more than a quarter of a century, he produced popular, authoritative and hugely entertaining western novels as "Matt Chisholm", "Cy James" and "Luke Jones". Writing interested me from the age of about fourteen, and I never saw myself as being anything but a writer. The method I use for writing westerns of a popular kind is to type the story in final form straight onto the typewriter. There have been one or two war books, a couple of straight novels, some novelisations of film scripts and a good many short stories. I followed it up by reading Wildfire, which I thought to be pretty dangerous stuff, and wildly sexy. I learned when I was a publisher's reader that, on the whole, you can only hope to sell a certain type of western in this country, or, to put it another way, you must package it not as a western, or as a western in the lighter popular category, at a low price and aimed at a reader who reads only light western fiction -- the avergage western reader as imagined by publishers.
They quickly tire of flat characters who don't possess interesting human qualities and the writer who is content to write about such characters will find that his readership will decline.
Its venue can be anywhere in the western states, from Arizona to Washington State, including Oklahoma and Texas, but with California's west coast slightly questionable.
There's no end to being a writer, and unless prevented by physical incapacity, you can write till you die. Most post-1982 Western films have been mediocre at best, Garfield feels, with a few notable exceptions like "Tombstone". Perhaps it is just the artists’ styles, but I think the loose adaption concept ended up causing them to create stories that are quite open. There are no apparent characters shown, the images coalesce around setting and occasional scenes (people waiting in a train station, crowded city streets, empty plains traversed by train tracks). The narrator’s story winds around to autobiography and the blurring of boundaries between the game and life. One story follows two men one evening as they walk around town and head into the woods (you can read it online here). Born in London on 19th December 1919, Peter went on to become a Civil Servant and founder of the Electro Acupuncture Voluntary Society of Britain and Ireland.

One is the legend -- on which most works of fiction are based, and which bear as much resemblance to the reality as Robin Hood or Dick Turpin did to the original. Many publishers are content with two-dimensional characters in westerns because they know no better and imagine their readers don't know any better, either.
He needn't, indeed, he should not show characteristics which his creator and possibly his readers could despise or find abhorrent.
I don't have to think about what he would do or say in given circumstances -- he decided that long ago.
It can be set among Indians, cattlemen, thieves, gold-seekers, lawmen, outlaws -- it doesn't matter who.
If I mention some, there are probably many others I should name, but there come readily to mind such writers as Elmer Kelton, Louis L'Amour, Dorothy Johnson, Carter Travis Young, Dudley Dean, Budd Arthur, Bill Gulick, Ray Hogan -- and plenty more. The story has the Doc looking for disappeared people, one quickly realizes, not people who have been kidnapped or run-off, but those who have literally disappeared. Almost every story in the book has the pleasing quality of feeling unexplained, not too wrapped up, never completely clear. The narrative captions which provide the main narrative thrust of the story are elliptical, telling the story of Monsieur Ho (which is the title of the novel Trahan is adapting) a officer of the census for the Chinese government who seems to lose himself in the country, in thoughts. What starts as predominantly vertical images, evoking dense tree trunks, moves through a number of stylistic sections.
Throughout the pages the two men are conversing yet Giard has erased through the center of the text, obscuring the actual words.
His writings also appeared under the names "Duncan Mackinlock" and "Tom Owen", but no matter what the name, it was the uniquely readable style he employed to tell his stories that earned him world-wide respect as a master of his craft. In my late teens, I knocked about as a factory worker and such-like, did a little commercial art and then went to war like most other people of my age. Writing is the loneliest job in the world, and though a writer needs to be capable of complete concentration, he also needs to see people.
In the old days, when I only had the evenings to work in, a western would take ten days to two weeks. Later, when I started to be a serious writer at the age of about twenty-six, I used to read westerns for relaxation.
There, a writer may be a novelist who writes stories based on the west, as opposed to a "western writer", and be accepted as a respectable creative artist. The giants of the last generation of western writers started in the pulp magazines which don't exist now. There are the Overholsers, D B Newton, Lewis B Patten, Thomas Thompson, Steven C Lawrence, George R Stewart, Michael Straight, many find writers. I have two series novels on the stocks -- one set in the west, the other covering the Vikings, which I have been preparing on and off over the last couple of years. On the whole, westerns do not have runaway success, but they still earn bread-and-butter for a writer.
I am guessing, based on the title, that Trahan is taking text from various parts of the novel to create a reduced form of the story (kind of like the Oubapian procedure reducing a comic to one page formed from various panels from different places in the work). The verticals slowly give way to smaller rectangular shapes then to scribbled forms that seem like insects flying about. One can occasionally make out a letter of a partial word, but except for two phrases we are left outside their words. If fine writing is demanded -- say, a straight passage in a straight novel, an essay or a poem -- that's usually started by hand and continued on the typewriter once I have the style and pace decided.
I have met and corresponded with quite a number, among whom have been a factory worker in Glasgow, an accountant in Monaco, a professor who speaks eight languages, an old retired lady in Cornwall, a schoolgirl in Kansas, a senior civil servant in Cheltenham and a pensioner in Oregon.
There have been a number of books in the genre which have proved themselves as respectable novels and showed a talent bordering on genius -- one of them was Little Big Man. The creation of McAllister came about when my editor at Panther Books, an experienced man and a first-rate editor, asked me to create a series.
I would very much like to produce a fully-illustrated book covering the appearance of the west right through the nineteenth century -- costumes, equipment, guns etc., An immense task, but I would like to have it as a twin to my Dictionary.
Across the course of the comic, more elements of the story-world begin to disappear: characters, words, objects, setting, even panel borders.
This is one of the most successful anthologies I’ve read in awhile (probably a combination of the theme and the group coherency).
In Britain, where there is a great deal of literary snobbery, you will find many hidden readers who will never admit to their vice. One or two Britons have produced impressive and serious novels set in the west -- an example being John Prebble with his The Buffalo Soldiers. All the subsidiary characters should take their cue from the hero and should be drawn with the same care, so that the hero exists in a world of real, three-dimensional people. I sure wish Trahan made more comics, because the two I’ve read so far are really fabulous.
I should note that Giard has subtitled the French text with English at the bottom of each page.
I wrote steadily through the war, but had all my notes pilfered before I could bring them home.
Writing generally is carried out intermittently throughout the day from seven in the morning until the early hours of the following morning, usually seven days a week.

In the days when I had to hurry, I did one book in five days -- the novelisation of a film.
It was then that I started to make my own list of words used in westerns, because I did not know of any sure guide to them. I took a name from a book I had written several years before, and made the character into a fellow who maybe chased the girls and drank too much at times.
It was the pulps that gave the writers I've mentioned the experience and confidence they needed. When he died on 30th November 1983, the genre lost not only one of its most accomplished exponents, but also a warm and witty human being. My publisher in New York showed enormous care in its production, and came back to me time and again in the pursuit of accuracy. Without knowing it, I had started what, twenty years later, would be my Dictionary of the Old West, 1850-1900. He could not be an old-fashioned, purely noble kind of hero -- he would have bored the modern reader. The western is one form of popular art that does not need originality of plot, though that can help. An unnamed and unseen (though I guess that is him on the cover) narrator speaks in black caption boxes that pepper the story: the comic we are seeing is a film the narrator is watching. Turgeon creates rhythm and motion through the not quite chaos of his pencil marks’ repetition and variation. Another story (which you can read here), which starts with the image of empty word balloons popping out the window of a building, takes place at a party where all the word balloons are left empty.
In the old days, when I was doing a regular job during the day, I worked at night and at weekends.
Their thoroughness was a revelation, and they taught me a great deal about conscientious publishing.
The narrator is confused by the film, watching as the sound goes out (the words balloons are emptied), as the characters disappear.
Since the war, I have been a civil servant, as which I initiated an edited two official magazines -- which was surprisingly interesting and I loved it.
They are a) a technical culture meeting a stone-age culture head on -- the last time such a thing on such a scale would be witnessed by mankind. In other words, if a young reader came to identify with him, he would be identifying with something worthwhile. Seeing himself in print gives him confidence and shows him better than any hand-written or typed page, the visual weight of what he's written. The cover image rhymes with some of the internal pages but is drawn in a plethora of colors (I can imagine the whole book done this way, it would be lovely).
Probably the most useful thing the Dictionary did for me was to provide me with some very good correspondents who are also interested in the actual language of the West. McAllister may have been the kind of man who could say, "Ma'am, I never struck a woman -- unless she deserved it," but he would never break his word or let a friend down. The comic is haunting in its way, not through the emotional pull of the western story but through the slow disintegration of the world. Originally published in 2006, an excerpt from this would have made a nice addition to the Abstract Comics anthology, as nothing in that volume has quite the same feel. In both stories Giard slips into abstraction for a brief few panels, the shift away from representation echoes the incomprehensibility of the dialogue in the stories. They have all been wonderfully helpful, and there is now a whole volume of editions to the Dictionary. Without really being able to articulate why, I love Giard’s style, especially in that second story, where details seem unnecessary and the lines are crisp yet not too precise. The moment the reader feels that he or she is following the fate of a real flesh-and-blood character, the plot can do what it likes. You can read it yourself (the words are in French, but almost half the book is wordless) at Grandpapier.
A veteran writer looked at my work and told me that what I was producing could not be called writing at all. There's always some smart alec in the audience who will jump on an error of fact and let you know about it.
He was right, and today I still see work -- much of it published -- which is the produce of people who don't know what writing is.
I did, of course, but did not get another book in print for another ten years and about ten books later.
This was a western called Halfbreed, which was bought outright for fifty pounds by Panther Books.

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