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    Shane
    Shane
    Shane
    Ebook167 pages3 hours

    Shane

    By Jack Schaefer and Robert Nott

    4/5

    ()

    Read preview

    • Family

    • Loyalty & Friendship

    • Ranching

    • Conflict & Violence

    • Redemption

    • Loyal Sidekick

    • Coming-Of-Age Story

    • Corrupt Businessman

    • Quick-Draw Gunfighter

    • Fish Out of Water

    • Coming of Age

    • Power of Friendship

    • Hero's Journey

    • Power of Love

    • Self-Discovery

    • Courage

    • Love

    • Justice

    • Western

    • Courage & Determination

    About this ebook

    In this true Western classic Jack Schaefer tells the story of a mysterious stranger who finds himself in the Wyoming Territory joining local homesteaders in their fight to keep their land and avoid the intimidating tactics of cattle driver Luke Fletcher. While trying to leave his gunslinging days behind him, the mysterious stranger, Shane, is tested by Fletcher and his men. In Shane, Schaefer executes a perfect Western narrative while exploring the overarching themes of virtue, the human condition, and a man’s search for self.

    LanguageEnglish
    PublisherUniversity of New Mexico Press
    Release dateJun 1, 2017
    ISBN9780826358424
    Shane
    Author

    Jack Schaefer

    Jack Schaefer was a journalist and writer known for his authentic and memorable characters set in the American West. Schaefer received the Western Literature Association’s Distinguished Achievement Award in 1975 and the Saddleman Award in 1986 from the Western Writers of America. His popular Western novels include Shane (1949) and Monte Walsh (1963).

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    Reviews for Shane

    4/5

    349 ratings25 reviews

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    • 4/5
      A stranger (Shane) rides onto the Starrett farm/ranch and is talked into staying awhile. He is strong physically, mentally, maybe not emotionally and helps young Bob Starrett see what it is like to grow into a respected man. This Western contains the inevitable gunfight between Shane and the bad guys.
    • 5/5
      I truly enjoyed this one. I generally like lone-wolf stories and Shane is just that, story of a mysterious rider that comes to the small town and finds himself helping them against the oppression. It is clear that this western [and others with similar story lines that followed] were an inspiration to the writers of modern day knights errant like Jack Reacher.

      Told from the perspective of a young boy, Bob Starrett, in opening chapter we witness the arrival of a lone rider who identifies himself only as Shane. Recognized by Bob's father, Joe, as someone who can help on the Starrett farm, Shane decides to accept the offer and help the Starrett's. It is obvious that Shane has troubled past but he does not let anything slip so he remains an enigma to the family. But even that does not stop Starrett's from almost adopting Shane and Shane completely warming up to this hard working family. For Joe's son Bob, Shane's mystery proves to be the absolute magnet - he follows him around trying to learn as much as he can from him, from handling the horse, gun to other works he is involved on the farm.

      Of course problem/conflict come in in form of powerful rancher who wants farmers to leave what he considers to be his land (ever present conflict on the great plains of America). And this is where Shane decides to stand up and protect family he became part of.

      What I liked here is that Starrett family is grounded, practical and they are true family. Joe immediately recognizes that Shane would be a great asset to his farm and when Shane decides to help, it becomes obvious that harmonious family life is something that Shane is missing dearly. Slowly, as days pass by in interaction with Starrett's Shane's starts to go back to what can be considered normal life [from whatever he was trying to escape from].

      As confrontation between ranchers and farmers starts to escalate we can see how Shane acknowledges that violence, no matter how he tries to run away from it, has its place in defense of good people. He can be deadly [bot unarmed and armed] when needed but he shows that he does not endorse the violence on itself. At the end his decision to ride away is driven by the fact that he is back where he was at the beginning of the story and can never go back to farming life. Violence follows him, such is the nature of the world, and he does not want people he likes to get hurt because of it.

      Excellent western, got me glued from the first pages to the very end.

      Highly recommended.
    • 4/5
      Good western novel, suitable for young people.
    • 3/5
      Like a companion to True Grit, but not as well written. The western told through the eyes of a young boy is still pretty unique a perspective.
    • 5/5
      A small book. Quick, easy read. Much of the story is about what isn't said.
    • 5/5
      This small little book packed a punch! I haven't read a western book in a long time... but now that I think about it, I don't think I have ever read a western... or maybe I have and just can't remember. Either way, I loved this book! There were many parts I reread just to ponder over what message Schaefer was trying to convey. He imparts wisdom, wise advice, and the character of a man throughout this book. One of my favorite quotes is when Shane is telling Bob that a gun is just a tool:"Listen Bob. A gun is just a tool. No better and no worse than any other tool, a shovel-or an ax or a saddle or stove or anything. Think of it always that way. A gun is as good-and as bad-as the man who carries it. Remember that."Wish more people felt this way.Now I want to see the movie based on this book again. It's been awhile since I've seen it.Special thanks to LibraryThings Member's Review Program for this free book and the opportunity to read and review it.
    • 5/5
      So good. Great story and characterization. Pretty short but very impactful
    • 3/5
      I don't think I've ever read a Western before, and whether the glorification of Shane as the quintessential cowboy was intentional by the author as the story is told from the adult POV of the main character as he reminisces about Shane, or if it just came across this way to me, I feel that this is the Wild West as told thru rose-tinted glasses. Still, for my first foray in Westerns, I suppose it could have been worse.
    • 5/5
      Wow. I see why this is a classic - there's a lot of story in this little book. The device of showing events through the boy's POV is clever - we see _what_ happens, and hear the adults talking about things, but Bob doesn't really understand what's going on which allows for elegant vagueness. The funny thing is that it reminded me of a King Arthur story, but with a better ending - at least, it ends badly for the protagonists (all three, or four, of them), but at least they don't destroy their world on the way down. They build it up instead - make things stronger, and better, for the price paid.
    • 4/5
      read this back when i was teaching; good story
    • 5/5
      My son was reading this in school as a class novel, and having seen the film (YEARS ago!), I thought I'd take a look. I didn't put it down until I'd finished it, at 2:30am. Put me in mind of Steinbeck; mythic and moving. Excellent introduction to literary fiction.
    • 5/5
      A simple, stunning raw story that I found more beautiful than I thought I would. Shane is THE man.
    • 4/5
      The title piece remains a perfect evocation of a mythic figure. Not a word wasted, the every image sharp and still compelling. The movie was quite good as well. Can't remember the rest of the collection.
    • 5/5
      Wonderful short novel. I think it is safe to call this literature and a classic, at least from my view. I am sure that my long held appreciation of the film influenced my enjoyment of this book. The actors from the film were immediately in my mind as I read this. The tension in this book starts on the first page. The story is told from the viewpoint of the boy in the story, young Bob Starrett, but he is telling us this story as an adult looking back on his childhood. He very believably shows the hero worship a young boy can have for the strong men in his life.I've read Shane before but seemed to really appreciate it more this time. This is very well written. Scenes small and large were vivid to me and lingered long after reading. Close to a perfect book, this will be one of my few favorites for this year. The best "western" I ever read was Larry McMurtry's 'Lonesome Dove'. It is also one of the best novels I have ever read, and just possibly THE best. Shane is a small book and can't be fairly compared to an epic like Lonesome Dove, but it does show that great writing and a great story can be found in unexpected places.
    • 5/5
      This afternoon I picked up and read Shane, a book I'd heard about but had not read before. I'd seen the movie years ago, but could not recall enough details to spoil the plot.I can see how the plot has been used and reused by others since this book was published in 1949: mysterious stranger shows up, and helps those who befriend him. I can see similarities to plots by one of my favorite authors, Louis L'Amour. But Jack Schaefer's writing has more depth and nuances than L'Amour, and was a great pleasure to devour in an afternoon.Five stars, highly recommended.
    • 4/5
      A mysterious stranger rides up to a lonely homestead. That's an archetypal Western figure, familiar in my reading of Westerns from a recommendation list, and certainly Shane is much better written and worth the reading than Zane Grey's Rider of the Purple Sage or Louis L'Amour's Hondo, even if I think this can't really match the classic 1953 film adaptation with Alan Ladd. The title character Shane is presented as a mythic figure, which is something of the book's strength and weakness. This was in the Young Adult section of the bookstore, and is told first person by an adult Bob Starrett reminiscing about a time when he was a boy on a 1889 Wyoming homestead with his father and mother. That might be part of the problem. The way Bob describes Shane is tinged with a hero-worship appropriate for a young boy, but for me clashes with the sophisticated insights and language of the man narrating. Or maybe I'm just too old and cynical for a tale I would have loved at fifteen. This misses being a favorite, even if I did find it an enjoyable and very quick read. (It's a short novel, I think about 50,000 words.) But I think it's the film that haunts this book. The film is superb--at quietly conveying Shane's heroic stature, and the slowly simmering sexual tension between him and Bob's mother Marian and the young boy's hero-worship. But I think the cries of "Shane" from that young boy in the film is going to haunt me far longer than any writing in the novel can.(And I have to say, there's an almost sexual tension between Shane and Bob's father Joe. If this were a popular media hit, fanficers would be slashing them in a heartbeat. It might be one reason I couldn't be too impressed, because with all the long looks between them, my mouth kept twitching picturing the slashers having a field day.)
    • 3/5
      One afternoon a mysterious stranger appeared in our valley. Suddenly I felt cold. I am not sure why because it was a warm day. I think it was a feeling caused by this stranger. The stranger´s name was Shane. He looked mysterious and dangerous.
    • 3/5
      A very short read - good for a few hours at least - but otherwise a great Western (if there is such a thing). The main triumph of this book for me was the amazing descriptions given of the fights and shooting scenes - to see the English language used so brightly and easily in what could easily have been dull or pedestrian passages was quite exhilirating.
    • 4/5
      This book provides a glimpse into a world we can only imagine; Struggling to survive in a landscape of shrewd, underhanded, violent types taking advantage of homesteader families. The boy in the story invigorates the story for me with his desire to see what is happening and his eventual discovery of the nature of a person he so looks up to and considers emulating.
    • 4/5
      Classic Western story. Basis of the movie.
    • 4/5
      I’m having a really tough time writing a review for Shane. I liked the book quite a bit, but just don’t have a lot to say about it. A compact little book with some depth to it. It’s a tough book to summarize. The book was so influential on other westerns that any summary will now sound like a pile of clichés: A mysterious drifter arrives in a settlement in 1890’s Montana and becomes enmeshed in a fight between settles and the big rancher who craves their land. It would be an easy book to dismiss based on such a summary, but it would be a mistake.The book was very well written. This isn't so much a novel about a heroic drifter who arrives in town and saves the day. That is the spine of the story, but the focus on the book is on the effect Shane has on the Starrett family and the effects he would like them to have on him. Shane isn't just a cipher of a character. Though we never learn much about Shane's past, it is clear that he enjoys his time with the Starrett family and would like to be able to settle down to their way of living. I was reminded a bit of Unforgiven, as Shane is clearly a gunfighter who would like to escape that lifestyle but knows he will most likely be unable to.The Starretts felt real and it was nice to read about a truly functional family. Young Bob idolizes his father, Joe, a good man who is trying to make a go of his farm. Marion, the mother was believably portrayed. Through the course of the novel you can see that she is developing feelings for Shane, though nothing overt is ever stated in the novel. The only time it felt overly clunky would be when the mother and father would have discussions about how Shane affected their lives. I just couldn't see two people having conversations like that.Otherwise Jack Schafer does a very good job. The book is written from the point of view of Bob Starrett, a man reflecting back on this time in his childhood. The author does a very good job with Bob's narration. The way it is presented allows for Bob to discuss situations both as he saw them at the time and with the maturity he's gained since then.Overall, Shane was a very satisfying read. Quite a bit better than I bargained for.
    • 4/5
      In some ways, the book is full of stereotypes. We have the staunch but beleaguered farmer, the evil land baron, the brave gunfighter, etc. Part of that is because that's the western formula and part because many stories post-1949 have emulated Shane. Regardless, Schaefer manages to transcend that for the reader, providing a excellent "in one sitting" read...the story is not long, more novella than novel.Many people have commented how much this is like the Clint Eastwood spaghetti westerns. I don't really see that connection other than the obvious one of both being westerns and the main characters having mysterious pasts. Eastwood's characters, though they may save the town, are rarely seeking redemption, nor is their departure at the end a reluctant one brought on by knowing they cannot leave their past behind. I see this book as closer in theme to O. Henry's "A Retrieved Reformation" where Jimmy Valentine uses his safe-cracker skills to save the child and then feels he must leave his new-found family.This is definitely worth the short time it will take to read.
    • 4/5
      (From Barnes & Noble)Often described as the "perfect" western, Shane simultaneously reaffirms and transcends genre conventions. This 1953 film's basic premise -- the violent struggle between greedy cattlemen and intrepid homesteaders -- is as old as the horse opera itself and is depicted by director George Stevens in stark, unambiguous fashion. The characters, too, are familiar types: the courageous farmer (played by Van Heflin), the dutiful wife (Jean Arthur), the hired killer (Jack Palance), and so on. Shane himself, played with admirable understatement by Alan Ladd, is positively archetypal. A former gunfighter, he seeks his redemption by helping the homesteaders, only to find them in desperate need of his "professional" skills -- the use of which, he realizes, will make him an outcast. Under Stevens's masterful direction, and bolstered by the Oscar-winning cinematography of Loyal Griggs and Victor Young's evocative musical scoring, every cliché seems fresh and every emotion rings true -- an achievement that ensures Shane a permanent place in the pantheon of great westerns.- Ed Hulse
    • 5/5
      A wonderful example of the coming-of-age story. Many of the characters may be cliched today, but here they seem fresh and natural. Don't be deceived by the movie. Alan Ladd is terrific, but by using a very young Brandon DeWilde, they changed the focus from a young man on the cusp of adulthood, to a whiny little boy who doesn't understand what's going on!
    • 3/5
      The book wasn't exactly my favorite. The movie, which we had to watch after reading this book, was horrible to my eleven year old self. I kind of wished someone would shoot the kid after five minutes of 'Shay-un, come back!' Before anyone flames me for being uncultured or not appreciating the culture in which this book was set... ah, heck, flame me anyway. The book was okay, the movie was painful, I guess I'm too dense for the deeper messages.

    Book preview

    Shane - Jack Schaefer

    Introduction

    Robert Nott

    A man is what he is, Bob, and there’s no breaking the mold.

    I tried that and I’ve lost.

    —Shane, to Bob Starrett

    When Shane rode into that isolated Wyoming valley in the summer of 1889, he wasn’t just a man looking to run away from his past or avoid another killing. He was a man searching for himself, and to do that he had to find a family. His was a story that postwar Americans, who still wanted to believe in good vanquishing evil and modern-day knights riding to the rescue, could embrace and readily understand. They too were once again celebrating unity as a family following more than four years of separation, angst, and loss because of the war. Shane was dangerous, but he was good, and in a valley on the verge of range warfare, his very presence unsettled the bad guys, like a recently empowered country that realized it could use atomic weapons to vanquish its enemies. And that prospect was definitely one that could grab your attention back in 1949, shortly before the Cold War turned deadly with the Korean War and everyone started seeing witches in the Red Scare of the 1950s.

    Yet were it not for the addition of one or two important elements, Jack Schaefer’s 1949 novel Shane may have come off as just a slightly more artistic take on the then-popular pulp Western novels. Schaefer certainly relied on many of that genre’s familiar tropes in his story of a stranger on horseback who drifts into a valley of conflict to set things right with his six-gun: ranchers v. farmers, good v. evil, a bad man looking for redemption, and a strong dose of fighting and shooting to garnish the tale. Anyone familiar with the genre would have recognized all of those components.

    What Schaefer did to raise the story to classic heights was to tell it through the eyes of a young boy—Bob Starrett. By letting such an innocent character bear witness to the story, Schaefer imbued the tale with a freshness that eased readers into an otherwise age-old story. And Schaefer’s protagonist—Shane, a man who seemed to come from nowhere and appeared equally determined to pass on to nowhere—was cast in the model of a mythological Greek God, an out-of-place knight looking for refuge from all the dragons. After falling in love with the Starrett family, Shane was well aware that he would have to pull out his lance and slay a few more serpents before peace would come to the valley.

    That boy, Bobby, was really Jonathan Schaefer, or Jon, as he is now known. He was about five years old when his father started working on the story, about eight when the novel came out, and twelve when the film version—shot by director George Stevens in 1951 but not released until 1953—hit the screens. The film, starring Alan Ladd as Shane and Brandon de Wilde in the role of the boy Joey (as the character was renamed for the cinema), proved to be an immediate success with critics and the public and further solidified the myth of an aging gunman who can only find solace in accepting the fact that he is who he is.

    Today, Jon Schaefer, who lives in Santa Fe, New Mexico, where his dad lived for over some thirty-five years, still delights in reflecting on the circumstances that led his father, then an editorial-page writer for a Norfolk, Virginia, newspaper, to pen Shane. Jon Schaefer displays a sharp sense of humor when asked how one can find his 1930s-era adobe home tucked away on a side street in mid-town. Just call out, ‘Shane, come back!’ he said.

    His dad had not yet set foot west of Toledo, Ohio, when he wrote Shane in the mid-1940s. Jack Schaefer found the West in himself and then found himself in the West, his son said, quoting a now-forgotten literary critic of old. Jack Schaefer was born near Cleveland, Ohio, in November 1907 and, somewhat like Shane, had spent much of his adult life journeying from town to town around the East, moving from one newspaper job to another. The family was living in a spacious three-story house in the Norfolk area when young Jonathan was growing up; it was an environment of exploration, music, and literature, he recalled. His mother, Eugenia, a superb pianist, hosted a classical music soiree once a week.

    Jack Schaefer also hosted regular meetings at the house. He wanted to be a short-story writer, Jon said of his father. He would hold monthly dinners for cultured city friends and afterward he would read a chapter or two of latest short story, always with a city setting. And they’d sit there and look at him and say, ‘Ahhhh, Jack, I don’t know.’

    Hardly discouraged, Jack Schaefer instead stayed late at his newspaper office and began knocking off a Western story about a stranger who comes to town and there’s a boy who thinks he’s a God, Jon Schaefer said. Jack brought some of his new story to the culture group and read the work aloud, nervously anticipating another round of indifferent criticism. Instead, his peers said, We know nothing about Westerns, but this is good. Keep it up!

    So he did, writing most of what we know now as Shane and submitting the tome to Argosy magazine. In those days writers who submitted unsolicited works to publications like Argosy, the Saturday Evening Post, and Collier’s were expected to include a self-addressed stamped envelope for the rejection letter and return of the manuscript. They were also expected to double-space the text. Jack Schaefer did neither when he sent it to Argosy. Months went by and he assumed the magazine’s editors were not interested. Then one day the phone rang. Schaefer answered it.

    Jack Schaefer? the male voice on the other end asked.

    Yes.

    You know you’re a fool, don’t you? the man asked.

    The caller was one of the editors at Argosy. He explained that Schaefer had done nothing right. The editor took one look at the single-spaced text of the manuscript, noted that the author did not include a self-addressed stamped envelope, and proceeded to the nearest trash can to deposit the still-unread copy. A phone call interrupted the planned rejection and the editor somehow managed to deposit the unwanted script on a slush pile with other stories he planned to take home to read. He got home, discovered Schaefer’s copy and, realizing there was no waste-paper can nearby to deposit it in, decided to give the first page a read. And then he read the second page. And then the third. And then …

    Argosy published the story in a three-part serial, starting with its July 1946 issue, calling it Rider from Nowhere. The magazine cost a quarter in those days.

    Schaefer didn’t give up on the piece after it was published. He sensed that he could expand it to a novel. "What was missing from that Argosy story was the stump scene—the ‘male bonding’ part," said Jon, referring to the now-famous sequence in which Shane and his new friend Joe Starrett work together to uproot and destroy a massive stump representing the challenges of the environment. Houghton Mifflin published the book, now titled Shane after its main character, in 1949. Schaefer still hadn’t been west of Ohio and told reporters at the time that he didn’t want to visit the West because it would muck everything up for him. But in 1955, he moved to Santa Fe, New Mexico, where he lived until his death early in 1991.

    Shane’s literary roots may have reached back to the World War I era, when Schaefer—weaned on stories of the Old West that his father, Carl Schaefer Sr., made up on the spot in the barn—wrote a story in elementary school called Dave Six, about a mythological gunman who wore a huge sombrero. Schaefer majored in Greek and Latin classical literature at Oberlin College in Ohio before attending Columbia University, though he left the latter college before graduating. Academia, he would later say, was a dull and stupid waste of time. He learned to write by writing and based many of his Western stories on the oral tradition of storytelling that his father had instilled in him, often letting one of his characters tell the story from a first-person perspective.

    He loved Westerns and he really loved the West, Jon Schaefer said. One of his father’s favorite Western novels was Owen Wister’s The Virginian. Jon wonders if his father’s failed efforts to join the war effort as a soldier—he was declared 4-F because of a head injury that caused one of his eyes to look a little cockeyed, Jon said—didn’t influence his father’s molding of Shane. Was his literary gunman really the little guy, recently returned from conflict, who was standing up to the big, commercial enterprises that would soon dominate America’s capitalistic landscape?

    Years later, long after Shane the novel had been overshadowed by Shane the film, the author would glumly note that he should have made the ranchers, and not the farmers who were destroying the land, his heroes. In a 1975 speech that Schaefer gave to the Western Literature Association in Durango, Colorado, after his reputation as a writer of the West had been sealed with such literary works as Monte Walsh, First Blood, The Canyon, and a collection of stories compiled under the title The Pioneers, he said he couldn’t imagine trying to return to the innocence of Shane at that period in his life. Inevitably I would be troubled by the realization he was aiding the advance of settlement, giving his push to the accelerating onrush of the very civilization I find deserving contempt, he said. Oh yes, I could claim he was also doing his bit to slow the push toward overpopulation by eliminating two potential begetters of progeny. But that is not the kind of solution to the population problem even I would recommend.

    By that time, George Stevens’s Shane was over twenty years old and had been hailed as a classic. And everyone saw Shane as Alan Ladd. Schaefer’s Shane is described as a tall, slight-of-build man; his attire suggests faded elegance, his hair and texture are dark, and he is by no means short of stature. A kind of magnificence remained and with it a hint of men and manners alien to my limited boy’s experience, an adult Bob reflects on Shane in the novel. Little of that description fits actor Alan Ladd. Jonathan Schaefer still recalls attending the film’s premiere at Grauman’s Chinese Theatre in Hollywood in the spring of 1953. As he and his father took their seats—fourth row, center of the aisle—young Jon heard several members of the audience whisper, That’s the author.

    When the lights dimmed and the film came up on the screen, the two Schaefers watched in silence as the title credits played out against the backdrop of a lone rider slowly coming toward the camera and into the Wyoming valley where the film was shot. As diminutive actor Alan Ladd—clad in a buckskin shirt and light clothing to make him look taller, Jon Schaefer recalled with a chuckle—rode closer and closer to the camera, the elder Schaefer pointed his finger at the actor up on the big screen and loudly proclaimed, "Who in the hell is that supposed to be?" An embarrassed Schaefer Jr. wanted to sink into his seat.

    His criticism of Ladd aside, the author came to respect George Stevens’s brilliance in capturing the hearty essence of his story. He got it, Jack Schaefer would tell his son. Stevens went from chapter to chapter; even some the dialogue is from the written page. Oddly enough, had Schaefer had his way (he had no creative control over the movie and didn’t earn all that much from the sale of the story to Paramount Pictures, his son said), he would have cast either Montgomery Clift or, incongruously, an aging movie tough guy in the title role. My Shane is a dark, deadly person, Schaefer said in a 1989 interview. I wanted George Raft instead of that runt Alan Ladd. Raft, it should be noted, wasn’t much taller than Ladd, and he would have been about fifty-six years old at the time of the filming in the spring of 1951. By that time he was plump and wearing a corset to flatten his belly, and it’s unlikely he ever rode a horse in his life.

    The film’s success kept the Shane name alive, and in the mid-1960s Paramount put together a short-lived television series with David Carradine as Shane. Jack Schaefer caught one of the shows on ABC and called the studio the next day. Hello, this is Jack Schaefer, he said once he reached an executive. Please take my name off that piece-of-crap show.

    The TV series has long since been forgotten. The novel has not. The Western Writers of America (WWA) have repeatedly voted the book one of the best Western novels of the twentieth century, and in 1986 the WWA gave Schaefer the Saddleman’s Award for Shane and other contributions to the genre.

    Jon Schaefer understands why Shane, as a work of literature, continues to ride tall. It’s a damn good story, he said. "It’s very well done. Shane has everything you need—romance, action, well-developed characters—and it has an authenticity that people can latch on to. To me, it holds up as the greatest Western novel ever written."

    One

    He rode into our valley in the summer of ’89. I was a kid then, barely topping the backboard of father’s old chuck-wagon. I was on the upper rail of our small corral, soaking in the late afternoon sun, when I saw him far down the road where it swung into the valley from the open plain beyond.

    In that clear Wyoming air I could see him plainly, though he was still several miles away. There seemed nothing remarkable

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