Read Ebook {PDF EPUB} The Unforgiven by Alan LeMay THE UNFORGIVEN. Alan LeMay, who made a strong start with The Searchers, gives color and conviction to an old struggle in the desolate Texas territory of 1870. Widowed Matthilda Zachary and her three sons, Ben, Cash and Andy protect 17 year old Rachel from the knowledge of her foundling origin. Rumor reaches the Kiowas that she is theirs. As Rachel learns the truth she acknowledges her love for Ben-the eldest. Death strikes Matthilda and the family endures an Indian attack. Superior styling characterizes an action story which will be serialized in the S. E. P. Alan Le May. PERIL PRESS presents: Collier’s, May 14 1932 BRONC FIGHTER'S GIRL by Alan LeMay Illustrated by Herbert Morton Stoops There are times when it takes more courage to quit than to carry on. But who’d expect a girl to think of that? A romance of the . Dangerous Men and Resolute Women - 6 Western Pulp Tales! PERIL PRESS presents:Collier. s, February 11 1933THE NESTER. S GIRLby Alan LeMayIllustrated by Matt ClarkA romance of the modern West. It seems that places still exist where there is scope for dangerous men and resolute womenA battle for desert wat. The Nester's Girl. PERIL PRESS presents: Collier’s, February 11 1933 THE NESTER’S GIRL by Alan LeMay Illustrated by Matt Clark A romance of the modern West. It seems that places still exist where there is scope for dangerous men and resolute women A battle for des. Saddle Bum. PERIL PRESS presents: Collier’s, August 22 1931 SADDLE BUM By Alan LeMay Illustrated by Matt Clark A Western romance—with the spice of mystery that makes a good story irresistible SADDLE BUM: Sheep feud in the cattle country. 5200 Words PLUS BO. The Battle of Gunsmoke Lode. PERIL PRESS presents: Collier’s, April 26 1930 THE BATTLE OF GUNSMOKE LODE by Alan LeMay Illustrated by Henry Davis The story of a little Western fracas that was nobody's business but the winner's THE BATTLE OF GUNSMOKE LODE: The story of a stubbo. Mules. PERIL PRESS presents: Collier’s, June 27 1931 MULES by Alan LeMay Illustrated by Harold Von Schmidt A drama of the open spaces, with Twenty-Mule Bill, capably assisted by a company of leatherheads, swivel-ears, harness canaries and heavy-gauge jac. Sundown Trail - 8 Western Shorts Vol 2. PERIL PRESS presents: Collier's, March 20 1937 GHOST AT HIS SHOULDER by Alan Lemay Illustrated By Irving Nurick A Short Short Story Complete On This Page He was knowing himself for the coward that he was 1300 Words Collier’s, June 26 1937 REVOLT. Revolt of a Cowgirl. Collier’s, June 26 1937REVOLT OF A COWGIRLby Alan LeMayIllustrated by Ronald McLeodA Short Short Story Complete On This Page“I was born and raised in a cattle family,” Colette said. “And cattle talk is all I’ve hear. Tonopah Range. Missouri Sloper and Elmer Law, having given up their range riding jobs to wander, have drifted into the desert town of Molech. With the wind blowing from the southeast, a dark sulphurous cloud has descended upon the town from the nearby smelter so th. Painted Rock. Alan LeMay produced a number of classic Western novels including The Searchers and The Unforgiven, both of which became classic motion pictures. Among the eleven stories included here is "Whack-Ear's Pup," in which a cowboy finds a small puppy abando. West of Nowhere. Alan LeMay dedicated his life to writing about the West. His short stories appeared in the top magazines, from The Saturday Evening Post to Cosmopolitan. And of course, he wrote the classic novels The Searchers and The Unforgiven, which went on to be. Thunder in the Dust. The Bells of San Juan. Capturing the danger and excitement of the Old West, a dramatic collection of stories from the author of The Searchers and The Unforgiven features the moving story entitled "The Little Kid," in which a young boy is orphaned after his father is killed. The Unforgiven. When their father dies, leaving them to survive in the wild and lonely Texas Panhandle on their own, the Zachary boys and their mother and sister must fight their late father's nemesis under the Kiowa moon. Spanish Crossing. A collection of classic short stories, originally published in such magazines as Collier's and The Saturday Evening Post, features such works as "The Wolf Hunter," "The Biscuit Shooter," "Delayed Action," and other notable tales by the author of The . Painted Ponies. WesternLarge Print EditionJust a minute, stranger. The words were an ominous drawl in the silence of the night. Suddenly, Ben Morgan realized his pursuers were closing in. Trapped and desperate, he spurred his horse right through their ranks with hot. Winter Range. A novel by the author of the classic western, The Searchers, takes place in an Arizona prairie town where the death of a powerful cattleman- banker threatens to ignite an all-out war on the range. Original. The Smoky Years. LAND WAR!They were the titans of the plains, the men who carved an empire out of the vast expanses of the West. The cattle barons. They were tough, weathered men like Dusty King and Lew Gordon, who had sweated and worked along the great cattle trails. The Searchers. The epic American Western classic from the author of The Unforgiven. Twice Mart Pauley had watched as the bloodthirsty Commanches destroyed everything he held dear. The first time he was a helpless child. But the second time, when they slaughtered hi. Alan LeMay Biography. Alan LeMay was one of a relative handful of published authors -- Richard Brooks, Niven Busch, and James Edward Grant are others in the same -- who found a permanent and highly lucrative home in Hollywood, and, who also made further contributions to movies as a producer and director. LeMay was born in Indianapolis, IN, in 1899, and attended Stetson University in Florida and the University of Chicago, from which he graduated in 1922. He went into ranching in California, but the economic upheavals of the '30s forced him into bankruptcy. Luckily, he had his literary career to fall back on, which eventually led him to Hollywood. He began writing fiction during the '20s, generating a novel each year for more than a decade. Although he was born in the Midwest and educated in Florida and Chicago, most of LeMay's writing and a large portion of his screenplays would be set in Texas. His fiction included Painted Ponies (1927), Old Father of the Waters (1928), Pelican Coast (1929), One of Us Is a Murderer (1930), Bug Eye (1931), Gunsight Trail (1931), Winter Range (1932), Cattle Kingdom (1933), Thunder in the Dust (1934), The Smokey Years (1935), Deep Water Island (1936), and Empire for a Lady (1937). It was in 1940 that Hollywood beckoned, and LeMay was soon working at Paramount as a specialist in adventure stories. He was assigned right from the starting gate to co-author the screenplay for Cecil B. DeMille's epic Northwest Mounted Police (1940), a sprawling story of conflict on the Canadian frontier. He followed up a year later with work on Reap the Wild Wind (1941), a two-fisted adventure tale set in the early days of the American republic which was also produced and directed by DeMille. LeMay completed his hat trick for the legendary filmmaker in 1944 with co-authorship of the screenplay for the topical World War II drama The Story of Dr. Wassell. That same year, LeMay also co-wrote the screenplay for The Adventures of Mark Twain, produced by Jesse L. Lasky at Warner Bros. with Irving Rapper directing. Apart from his occasional shift into historical biographies, most of LeMay's writing and screenplays were rooted in fiction and focused upon self-motivated loner heroes, whose most obvious loyalties seldom extended far beyond family and their very closest friends, and often took some violent and perverse turns along the way. Another fixture in many of his scripts was the presence of tempestuous, independent-minded women who frequently challenged the men around them in such areas as fighting prowess, marksmanship, or authority. LeMay resumed writing fiction in 1943 with Useless Cowboy, the screen rights to which were picked up by Cinema Artists Corporation with Gary Cooper starring and produced the resulting movie Along Came Jones (1945). Nunnally Johnson's script walked a fine line between comedy and melodrama, and the resulting movie was a good deal lighter in texture and tone, as well as shorter than the films that LeMay himself had written to date. This soon changed as LeMay began writing a short string of more modestly proportioned Westerns for Warner Bros., none of which were terribly distinguished cinematically, although one of them, San Antonio (1945) (co-written with W.R. Burnett), did star Errol Flynn and offered the novel denouement of a shootout in the deserted Alamo. After 1948, LeMay made the rounds of the major studios, writing the screenplay for Tap Roots at Universal and The Walking Hills (1949) at Columbia. At the close of the '40s, LeMay formed a film company of his own, Arfran Productions, with director George Templeton. This gave him the opportunity to direct the psychological Western drama High Lonesome (1950) and to do some directing for Eagle Lion Films. From his own screenplay starring John Drew Barrymore, he also adapted one of his novels, Thunder in the Dust, into The Sundowners (1950) (also at Eagle Lion), a drama of deadly sibling rivalry on the frontier, co-starring Barrymore and directed by Templeton. He was back at Warner Bros. that same year for Rocky Mountain (another Errol Flynn vehicle) and wrote the screenplay for Quebec, a historical drama dealing with the province's rebellion against British rule, starring Barrymore and directed by Templeton at Paramount. LeMay returned to the field of historical biographies with I Dream of Jeannie (1952), based on the life of Stephen Foster and, that same year, worked on Raoul Walsh's colorful and somewhat fact-based swashbuckler Blackbeard the Pirate. A year later, he turned up as the screenwriter for Flight Nurse, directed by Allan Dwan. The mid-'50s saw LeMay back in Westerns again, writing the script for Republic Pictures' release of The Vanishing American (1955), a remake of the 1926 silent Paramount hit directed by Joseph Kane. LeMay's big success during this period, however, was with his novel The Searchers (1954), a tale of one family during a tragic interaction between whites and Native Americans on the Texas frontier in the 1860s. The rights to the novel were purchased by John Ford and Warner Bros., and the story was transformed by Frank Nugent into one of the best screenplays that Ford ever had to work with. The resulting film, though not perfectly true to LeMay's book, is generally regarded as the best of Ford's late films and a high point of his career. Two years after The Searchers, LeMay published The Siege at Dancing Bird, which was later retitled The Unforgiven. The rights to that novel (which essentially told the story of the preceding novel in reverse) were purchased by John Huston and he turned it into one of his very best films, The Unforgiven (1960), starring Burt Lancaster and Audrey Hepburn. LeMay published one more novel, By Dim and Flaring Lamps (1962), but by the late '60s, his bleak, lonely vision of the West had been squeezed out by the more violent sensibilities of the Italian-made Spaghetti Westerns and the growing liberalism of audiences. Alan LeMay died in 1964 after an extended illness, and in the decades since, has been largely forgotten apart from his authorship of the source novels for The Searchers and The Unforgiven. — Bruce Eder, Rovi. The Unforgiven by Alan LeMay. (director: John Huston; screenwriters: from the book by Alan LeMay/Ben Meadow; cinematographer: Franz Planer; editor: Russell Lloyd; music: Dimitri Tiomkin; cast: Burt Lancaster (Ben Zachary), Audrey Hepburn (Rachel Zachary), Audie Murphy (Cash Zachary), Doug McClure (Andy Zachary), John Saxon (Johnny Portugal), Charles Bickford (Zeb Rawlins), Lillian Gish (Matilda Zachary), Albert Salmi (Charlie Rawlins), Joseph Wiseman (Abe Kelsey), Kipp Hamilton (Georgia Rawlins), June Walker (Hagar Rawlins), Carlos Rivas (Lost Bird); Runtime: 122; MPAA Rating: NR; producer: James Hill; MGM; 1960) “Considering how Huston and Lancaster have artistic disagreements over filming, it surprisingly still turned out relatively well.” Reviewed by Dennis Schwartz. John Huston’s social conscience Western, exposing the ugliness of racism, is set in the Texas Panhandle sometime after the Civil War in the 1860s. It’s based on the book by Alan LeMay, who wrote the novel The Searchers was based on. The Unforgiven is not only a study of racism — the orphan Audrey Hepburn lives with the white ranchers who adopted her but is suspected of being an Indian — but a salute to the pioneers of the Old West. As poorly executed, unconvincing and ludicrous as is the storyline, there’s still a fascination in the sweeping gestures of Huston’s treatment of prejudice–something I might add few films at that time ever attempted to get at. While Rachel Zachary’s (Audrey Hepburn) three brothers, the patriarchal Ben Zachary (Burt Lancaster), the bigoted Cash (Audie Murphy) and the virgin nice-guy Andy (Doug McClure), are about to return from a long cattle drive, sis frolics on horseback on the isolated desert ranch while her homemaker adopted mom Matilda (Lilian Gish) bakes bread at home. The peace is broken when an ornery one-eyed white man, Kelsey (Joseph Wiseman), quotes from the Bible a verse about vengeance after riding near Rachel while sporting a saber and frightening the young lady with his presence. We soon learn that he’s spreading rumors throughout the community that Rachel is an Indian, and has hatred in his heart for the Zachary family (we will learn later that the Indians killed Kelsey’s son and later killed Will Zachary, Matilda’s hubby, who before he died saved the life of the only survivor from a slaughtered Kiowa camp and gave the baby girl to Matilda to raise as a white child–saying he wanted no more bloodshed). Some of the whites begin to believe Kelsey’s tale is true and turn their backs on the Zacharys; while the Kiowa send Rachel’s brother, Lone Bird, to peacefully bring her back to her people by swapping horses for her. Things get ugly when Ben’s ranching partner, Reverend Zeb Rawlins (Charles Bickford), learns his son Charlie (Albert Salmi), Rachel’s suitor, is killed by the Indians. This leaves Ben no choice but to go after Kelsey and wring the truth out of him. Ben’s men capture Kelsey and before they hang him, they make him swear to tell the truth. But Kelsey doesn’t change his story. Zeb believes him and tells Ben he will dissolve their profitable cattle partnership unless Rachel is returned to her people. But Ben refuses to return his sister and then must fight off, without the help of his white neighbors, a savage Indian attack to take Rachel back. Things got muddled along the way of this well-intentioned message film, as the film’s strong sentiments against racism seem countermanded by portraying the Indians in a stereotypical role. Yet Huston keeps out the preaching, letting the story play out its violent course in an action-packed climax. Considering how Huston and Lancaster have artistic disagreements over filming, it surprisingly still turned out relatively well. Lancaster’s company produced it and were gunning for big box office, while Huston was drawn to the project because of the racial intolerance angle on the frontier intrigued him. In the end, Huston distanced himself from the film and later claimed that “of all his films, The Unforgiven was the only one he actually disliked.” Which only proves that sometimes the director isn’t the best judge of what he created. “The Unforgiven” by Alan LeMay. Crest s244 (October 1959). Second Crest printing. Movie tie-in. Photo Cover with Burt Lancaster and Audrey Hepburn. Terror prowled the bleak untamed Texas prairies. Lonely women waited for men who might never return. THE UNFORGIVEN – Alan LeMay’s gripping novel has now been brought to the screen as a mighty motion picture by Hecht-Hill-Lancaster Productions. Starring Burt Lancaster, Audrey Hepburn, Audie Murphy with John Saxon, Lillian Gish and Charles Bickford. Directed by John Huston. Produced by James Hill. A United Artists Release. “The film, uncommonly for its time, spotlights the issue of racism against Native Americans and people believed to have Native American blood in the Old West.” [Wikipedia]