Fans pick 67 books like Ride the Devil's Herd

I am a teacher of primitive survival skills. As a young boy, I was fascinated with the concept of courage. At seven, I read the pseudo-biography of Wyatt Earp, a wonderfully written account of a courageous man. This book began my lifelong interest in Mr. Earp. Eventually, I met many of the giants in Western history research and accompanied them into the field. After 65 years of collecting the facts, I wanted to use my novelistic skills to portray the life and times of Wyatt Earp as best as the record shows.

I am a teacher of primitive survival skills. As a young boy, I was fascinated with the concept of courage. At seven, I read the pseudo-biography of Wyatt Earp, a wonderfully written account of a courageous man. This book began my lifelong interest in Mr. Earp. Eventually, I met many of the giants in Western history research and accompanied them into the field. After 65 years of collecting the facts, I wanted to use my novelistic skills to portray the life and times of Wyatt Earp as best as the record shows.

I am a teacher of primitive survival skills. As a young boy, I was fascinated with the concept of courage. At seven, I read the pseudo-biography of Wyatt Earp, a wonderfully written account of a courageous man. This book began my lifelong interest in Mr. Earp. Eventually, I met many of the giants in Western history research and accompanied them into the field. After 65 years of collecting the facts, I wanted to use my novelistic skills to portray the life and times of Wyatt Earp as best as the record shows.

I am a teacher of primitive survival skills. As a young boy, I was fascinated with the concept of courage. At seven, I read the pseudo-biography of Wyatt Earp, a wonderfully written account of a courageous man. This book began my lifelong interest in Mr. Earp. Eventually, I met many of the giants in Western history research and accompanied them into the field. After 65 years of collecting the facts, I wanted to use my novelistic skills to portray the life and times of Wyatt Earp as best as the record shows.

I love a good story that crosses genres; seeing where they mesh together, playing with where they differ, and letting the various parts spark into a whole that’s greater still. Though my writing usually takes place in the “real” everyday world, I often introduce supernatural elements. Partly because, while I’m an atheist, I still believe there are more things in the universe and on earth than we yet know. And partly because these elements, whether real or imagined on the part of the character, can act as splendid metaphors – or help to understand a state of mind. 

Growing up in West Texas, westerns were just as good as bedtime stories to me. I grew up with all the greats… and the not as greats. The quality didn’t always matter because the spirit was the same. Freedom, opportunity, and possible lawlessness. Survival of the quickest draw. An untamed place where anything could happen. Someone once said that the western genre was America’s genre. It was invented here and our frontier spirit inspired the world. When I decided to write Hour Glass, I channeled the independent spirit of those westerns I grew up with. I wrote the first draft in sixteen days out of pure passion for the subject matter. 

There is nothing I detest more than what I have dubbed the “John Wayne Mythos” – the idea the West was populated with righteous gunslingers going about “taming” the West by killing anyone who was not abiding by or submitting to white, Anglo-Saxon, Protestant standards and morality. The West, of which Arizona was an integral part, was much more complex than this, and the heroes of legend were oft-times the real-life villains. I consider myself to be a historian of the “New Western History” school, which recast the study of American frontier history by focusing on race, class, gender, and environment in the trans-Mississippi West.

Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.

Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.

Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.