Skyrider

By B. M. Bower

First published in 1918, "Johnny Jewel" is a the story of a cowboy-cum-aviator in America's Old West. This charming and exciting tale of Western ranch life is highly recommended for lovers of Western fiction, and it is not to be missed by those who have read and enjoyed other works by this author. Bertha Muzzy Sinclair or Sinclair-Cowan (1871 - 1940), more commonly known as B. M. Bower, was an American author famous for her novels, short stories, and screenplays set in the American Old West. Other notable works by this author include: "Casey Ryan", (1921), "The Long Loop" (1931), and "Chip of the Flying U" (1906). Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this volume now in an affordable, modern, high-quality edition complete with a specially commissioned new introduction and biography of the author.

• Language: English
• Publisher: Classic Western Fiction Library
• Release date: Jul 19, 2017
• ISBN: 9781473346260

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SKYRIDER

BY

B. M. BOWER

Copyright © 2016 Read Books Ltd.

This book is copyright and may not be

reproduced or copied in any way without

the express permission of the publisher in writing

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from

the British Library

Contents

B. M. Bower

The History of Western Fiction

CHAPTER ONE - A POET WITHOUT HONOR

CHAPTER TWO - ONE FIGHT, TWO QUARRELS, AND A RIDDLE

CHAPTER THREE - JOHNNY GOES GAILY ENOUGH TO SINKHOLE

CHAPTER FOUR - A THING THAT SETS LIKE A HAWK

CHAPTER FIVE - DESERT GLIMPSES

CHAPTER SIX - SALVAGE

CHAPTER SEVEN - FINDER, KEEPER

CHAPTER EIGHT - OVER THE TELEPHONE

CHAPTER NINE - A MIDNIGHT RIDE

CHAPTER TEN - SIGNS, AND NO ONE TO READ THEM

CHAPTER ELEVEN - THIEVES RIDE BOLDLY

CHAPTER TWELVE - JOHNNY’S AMAZING RUN OF LUCK STILL HOLDS ITS PACE

CHAPTER THIRTEEN - MARY V CONFRONTS JOHNNY

CHAPTER FOURTEEN - JOHNNY WOULD SERVE TWO MASTERS

CHAPTER FIFTEEN - THE FIRE THAT MADE THE SMOKE

CHAPTER SIXTEEN - LET’S GO

CHAPTER SEVENTEEN - A RIDER OF THE SKY

CHAPTER EIGHTEEN - FLYING COMES HIGH

CHAPTER NINETEEN - WE FLY SOUTH

CHAPTER TWENTY - MEN ARE STUPID

CHAPTER TWENTY-ONE - MARY V WILL NOT BE BLUFFED

CHAPTER TWENTY-TWO - LUCK TURNS TRAITOR

CHAPTER TWENTY-THREE - DREAMS AND DARKNESS

CHAPTER TWENTY-FOUR - JOHNNY’S DILEMMA

CHAPTER TWENTY-FIVE - SKYRIDER HAS FLEW!

B. M. Bower

Bertha Muzzy Bower was born Bertha Muzzy on 15 November 1871 in Otter Tail Country, Minnesota. In 1889, she moved with her family to a dryland homestead near Great Falls, Montana. Shortly before her eighteenth birthday, she began working as a school teacher in Milligan Valley. She worked there for one term before returning home, but used her experiences when describing school teachers in her novels.

In December 1890, she surprised her family by eloping with Clayton J Bower. The marriage was an unhappy one. After living with her family and in Great Falls, they finally settled in Big Sandy, Montana in 1898. It was living in Big Sandy that gave Bower an intimate knowledge of cowboy life and the open range. They had three children: Bertha Grace (1891), Harold Clayton (1893) and Roy Noel (1896). The family moved to a hayfield cabin, which Bower unhappily nicknamed Bleak Cabin. To afford the rent, the family took in Bill Sinclair, with whom Bower began a relationship. She lent him books and helped him with his writing, and he taught her about cowboy life and critiqued her early work.

Her first marriage deteriorated after she published Chip of the Flying U (1906). Her husband began calling her his ‘little red-headed gold mine’. The marriage ended after he returned home in a drunken rage. Using money lent to her by Sinclair and money she had earned from her writing, she moved to Tacoma, Washington to stay with her brother. The divorce was finalised in 1905, Clayton took custody of the elder children, and Bower received custody of Roy, with whom she returned to Great Falls. During this time, her career continued to blossom and she signed her first short story writing contract for Popular Magazine in January 1905.

Bower married Sinclair in August 1905 and had a daughter, Della Frances Sinclair, during a blizzard in January 1907. This same winter destroyed their breeding horse herd in eastern Valley Country and ruined their plans to move there in the spring. Instead, they moved to Santa Cruz, California. By 1911, the relationship between them had waned and they separated, Bower moving to San Jose, California. She also changed publishers and signed with the prestigious company, Little, Brown & Company.

In 1920, Bower moved to Hollywood where she married Robert ‘Bud’ Cowan, a cowboy she had met in Big Sandy. In 1921, they reopened a silver mine in Nevada and ran it until the Great Depression compelled them to move to Depoe Bay, Oregon. Their marriage lasted until Cowan’s death in 1939.

Bower claimed she began writing to survive her first marriage and to gain financial independence. Her first novel, published locally, was Strike of the Deadpan Brigade (1901), and her first short story published nationally was Ghost in the Red Shirt (1904). Later that year her first Western novel, Chip of the Flying U, was published as a serial in Popular Magazine. It depicted life on Flying U Ranch and the relationship between the cowboy, Chip, and Dr Della Whitmore. The book was so successful that in 1906, it was republished in hardcover with three watercolour illustrations by Charlie Russell. The book made her famous and she went on to write a series set within the Flying U Ranch.

Bower wrote 57 Western novels. The titles included: Cow Country (1921), The Lonesome Trail (1909), and Pirates of the Ranch (1937). Her novels accurately portrayed cowboy life and she wrote factually, using her first-hand knowledge. Her novels were light-hearted, humorous and contained little violence. Due to their popularity, some of her novels were adapted in Hollywood. Chip of the Flying U was adapted four times and each adaptation changed her narrative. She also collaborated with director, Colin Campbell, writing short stories and screenplays under the name Bertha Muzzy Sinclair. She used her experiences working in studios as a source for several of her novels, including Jean of the Lonely A (1915) and The Phantom Herd (1915).

Bower died on 23 July 1940 in Los Angeles, California at age 68. By the time of her death, she had sold more than two million copies of her novels, not including her short stories or articles.

The History of Western Fiction

Western fiction is a genre which focuses on life in the American Old West. It was popularised through novels, films, magazines, radio, and television and included many staple characters, such as the cowboy, the gunslinger, the outlaw, the lawman and the damsel in distress. The genre’s popularity peaked in the early twentieth century due to dime novels and Hollywood adaptations of Western tales, such as The Virginian, The Great Moon Rider and The Great K.A. Train Robbery. Western novels remained popular through the 1960s, however readership began to dwindle during the 1970s.

The term the American Old West (the Wild West) usually refers to the land west of the Mississippi River and the Frontier between the settled and civilised and the open, lawless lands that resulted as the United States expanded to the Pacific Ocean. This area was largely unknown and little populated until the period between the 1860s and the 1890s when, after the American Civil War, settlement and the frontier moved west.

The Western novel was a relatively new genre which developed from the adventure and exploration novels that had appeared before it. Two predecessors of popular Western fiction writers were Meriweather Lewis (1774-1809) and William Clarke (1770-1838). Both men were explorers and were the first to make travel and the frontier a central theme of their work. Perhaps the most popular predecessor of Western fiction was James Fenimore Cooper (1789-1851). His west was idealised and romantic and his popular Leatherstockings series depicted the fight between the citizens of the frontier and the harsh wilderness that surrounded them. His titles included: The Last of the Mohicans (1826), The Pathfinder (1840) and The Deerslayer (1841). His tales were often set on the American frontier, then in the Appalachian Mountains and in the land to the west of that. His protagonists lived off the land, were loyal, free, skilled with weapons, and avoided civilised society as best they could. His most famous novel, The Last of the Mohicans, also idealised the Native American.

During the 1860s and 1870s, a new generation of Western writers appeared, such as Mark Twain (1835-1910) Roughing It (1872) and Bret Harte (1836-1902) The Luck of Roaring Camp (1868). Both writers had spent time living in the west and continued to promote its appeal through their literature. Harte is often credited with developing many of the cult Western’s stock characters, such as the honest and beautiful dance hall girl, the suave conman and the honourable outlaw. These characters went on to be firm favourites in popular, mass produced Western fiction. At the end of the nineteenth century, thousands of people were undergoing the treacherous journey to the west to make a new life for themselves and the fictional stories and legends of heroes and villains who had survived in this wild landscape captured the imagination of the public.

Western novels became popular in England and throughout America through ‘Penny Dreadfuls’ and Dime Novels. These appeared in the late 1800s and were texts that could be bought cheaply (for either a penny or a dime – ten cents) as they were often cheaply printed on a large scale by publishers such as Irwin P. Beadle. Malaeska; the Indian Wife of the White Hunter (1860) by Ann S Stephens (1810-1886) is considered by many critics to be the first dime novel. These sensationalist dime and penny novels capitalised on stories of outlaws, lawmen, cowboys, and mountain men taming the western frontier. Many were fictional, but some were based on real heroes of the west such as Buffalo Bill (the scout, bison hunter and performer), Jesse James (the American outlaw, robber, gang leader and murderer) and Billy the Kid (the American gunfighter). By 1877, these Western characters were a recurring feature of the dime novel. The hero was often a man of action who saved damsels in distress and righted the wrongs of the villains that he faced. For this hero, honour was the most important thing and it was something that the dime heroes never relinquished.

In the 1900s, Pulp magazines helped relay these tales over to Europe where non-Americans also picked up the genre, such as the German writer, Karl May (1842-1912). Pulp magazines were a descendent of the dime novel and their content was largely aimed at a mass market. As their popularity grew, they were able to specialise and there were Pulp magazines devoted specifically to Westerns, such as Cowboy Stories, Ranch Romances, and Star Western. The popularity for these magazines and for Western films in the 1920s made the genre a popular phenomenon.

The status of the genre in the early twentieth century was also enhanced by particular novels by different writers. One of the most influential Western novels was The Virginians (1902) by Owen Wister (1860-1938) which was considered to be a ground breaking literary Western. Wister dismissed the traditional idea of the solitary pioneer conquering new lands and making a new life for himself, and replaced this traditional character with the cowboy. The cowboy was a mix of cultural ideals, such as southern chivalry, western primitivism and stout independence. These were characteristics that many Americans cherished. Wister contrasted the lawlessness of the West to the order and civilisation of the East. He introduced new characters, such as savages and bandits who attacked the more civilised Eastern characters. His cowboy heroes shared many features with the medieval knights – they rode horses, carried weapons, fought duals and valued their honour above all other attributes. Zane Grey’s (1872-1939) Riders of the Purple Sage (1912) was also a popular Western novel. Grey was a prolific writer and wrote over ninety books which helped shape Western fiction. He changed Wister’s cowboy into a gunslinger who was feared by criminals and held in awe by other civilians. Other popular Western writers in this period include Andy Adams (1859-1935) whose titles include The Outlet (1905) and A Texas Matchmaker (1904), Edward S Ellis (1840-1916) who wrote Seth Jones, or The Captives of the Frontier (1860) and The Steam Man of the Prairies (1868), and Bertha Muzzy Bower (1871-1940) who wrote Chip of the Flying U (1906) and The Dry Ridge Gang (1935).

The Western hero lived in an environment where climate, natives and the terrain could be his enemies, and it was his job to tame the wilderness around him, but in doing so he determined his own extinction. In bringing forward civilisation and settlement, they brought about their own demise and their reason for existing. Western heroes could only exist on the frontier. Rebels were popular heroes in the Western novel and these heroes were often compassionate to those less fortunate than themselves and fought for the downtrodden. They were loyal, idealistic, independent, and knew the difference between right and wrong. They fought for the good and made personal sacrifices in order that good would triumph. The hostile setting of the Wild West transformed the characters into survivors as they were forced to alter themselves in order to live in this new setting. The Old Wild West captured the attention of many as it exemplified the spirit of freedom, individualism, adventure and unspoiled nature. It depicted a world that was separate from organised, urban society and showed the life of the wilderness, frontier and its inhabitants. The Western romanticised American history and the treacherous, mysterious and otherworldly Old West.

CHAPTER ONE

A POET WITHOUT HONOR

Before I die, I’ll ride the sky; I’ll part the clouds like foam. I’ll brand each star with the Rolling R, And lead the Great Bear home.

I’ll circle Mars to beat the cars, On Venus I will call. If she greets me fair as I ride the air, To meet her I will stall.

I’ll circle high—as if passing by— Then volplane, bank, and land. Then if she’ll smile I’ll stop awhile, And kiss her snow-white hand.

To toast her health and wish her wealth I’ll drink the Dipper dry. Then say, Hop in, and we’ll take a spin, For I’m a rider of the sky.

Through the clouds we’ll float in my airplane boat—

Mary V flipped the rough paper over with so little tenderness that a corner tore in her fingers, but the next page was blank. She made a sound suspiciously like a snort, and threw the tablet down on the littered table of the bunk house. After all, what did she care where they floated—Venus and Johnny Jewel? Riding the sky with Venus when he knew very well that his place was out in the big corral, riding some of those broom-tail bronks that he was being paid a salary—a good salary—for breaking! Mary V thought that her father ought to be told about the way Johnny was spending all his time—writing silly poetry about Venus. It was the first she had ever known about his being a poet. Though it was pretty punk, in Mary V’s opinion. She was glad and thankful that Johnny had refrained from writing any such doggerel about her. That would have been perfectly intolerable. That he should write poetry at all was intolerable. The more she thought of it, the more intolerable it became.

Just for punishment, and as a subtle way of letting him know what she thought of him and his idiotic jingle, she picked up the tablet, found the pencil Johnny had used, and did a little poetizing herself. She could have rhymed it much better, of course, if she had condescended to give any thought whatever to the matter, which she did not. Condescension went far enough when she stooped to reprove the idiot by finishing the verse that he had failed to finish, because he had already overtaxed his poor little brain.

Stooping, then, to reprove, and flout, and ridicule, Mary V finished the verse so that it read thus:

Through the clouds we’ll float in my airplane boat— For Venus I am truly sorry! All the stars you sight, you witless wight, You’ll see when you and Venus light! But then—I’m sure that I should worry!

Mary V was tempted to write more. She rather fancied that term witless wight as applied to Johnny Jewel. It had a classical dignity which atoned for the slang made necessary by her instant need of a rhyme for sorry.

But there was the danger of being caught in the act by some meddlesome fellow who loved to come snooping around where he had no business, so Mary V placed the tablet open on the table just as she had found it, and left the bunk house without deigning to fulfill the errand of mercy that had taken her there. Why should she trouble to sew the lining in a coat sleeve for a fellow who pined for a silly flirtation with Venus? Let Johnny Jewel paw and struggle to get into his coat. Better, let Venus sew that lining for him!

Mary V stopped halfway to the house, and hesitated. It had occurred to her that she might add another perfectly withering verse to that poem. It could start: While sailing in my airplane boat, I’ll ask Venus to mend my coat.

Mary V started back, searing couplets forming with incredible swiftness in her brain. How she would flay Johnny Jewel with the keen blade of her wit! If he thought he was the only person at the Rolling R ranch who could write poetry, it would be a real kindness to show him his mistake.

Just then Bud Norris and Bill Hayden came up from the corrals, heading straight for the bunk house. Mary V walked on, past the bunk house and across the narrow flat opposite the corrals and up on the first bench of the bluff that sheltered the ranch buildings from the worst of the desert winds. She did it very innocently, and as though she had never in her life had any thought of invading the squat, adobe building kept sacred to the leisure hours of the Rolling R boys.

There was a certain ledge where she had played when she was a child, and which she favored nowadays as a place to sit and look down upon the activities in the big corral—whenever activities were taking place therein—an interested spectator who was not suspected of being within hearing. As a matter of fact, Mary V could hear nearly everything that was said in that corral, if the wind was right. She could also see very well indeed, as the boys had learned to their cost when their riding did not come quite up to the mark. She made for that ledge now.

She had no more than settled herself comfortably when Bud and Bill came cackling from the bunk house. A little chill of apprehension went up Mary V’s spine and into the roots of her hair. She had not thought of the possibilities of that open tablet falling into other hands than Johnny Jewel’s.

Hyah! You gol-darn witless wight, bawled Bud Norris, and slapped Bill Hayden on the back and roared. Hee-yah! Skyrider! When yo’ all git done kissin’ Venus’s snow-white hand, come and listen at what’s been wrote for yo’ all by Mary V! Whoo-ee! Where’s the Great Bear at that yo’ all was goin’ to lead home, Skyrider? Then they laughed like two maniacs. Mary V gritted her teeth at them and wished aloud that she had her shotgun with her.

A youth, whose sagging chaps pulled in his waistline until he looked almost as slim as a girl, ceased dragging at the bridle reins of a balky bronk and glanced across the corral. His three companions were hurrying that way, lured by a paper which Bud was waving high above his head as he straddled the top rail of the fence.

Johnny’s a poet, and we didn’t know it! bawled Bud. Listen here at what the witless wight’s been a-writin’! Then, seated upon the top rail and with his hat set far back on his head, Bud Norris began to declaim inexorably the first two verses, until the indignant author came over and interfered with voice and a vicious yank at Bud’s foot, which brought that young man down forthwith.

Aw, le’ me alone while I read the rest! Honest, it’s swell po’try, and I want the boys to hear it. Listen—get out, Johnny! ‘I’ll circle high as if passing by, then—v-o-l—then vollup, bank, an’ land—’ Hold him off’n me, boys! This is rich stuff I’m readin’! Hey, hold your hand over his mouth, why don’t yuh, Aleck? Yo’ all want to wait till I git to where—

I can’t, wailed Aleck. He bit me!

Well, take ‘im down an’ set on him, then. I tell yuh, boys, this is rich—

You give that back here, or I’ll murder yuh! a full-throated young voice cried hoarsely.

Here, quit yore kickin’! Bill admonished.

Go on, Bud; the boys have got to hear it—it’s rich!

Yeh—shut up, Johnny! Po’try is wrote to be read—go on, Bud. Start ‘er over again. I never got to hear half of it on account of Johnny’s cussin’. Go on—I got him chewin’ on my hat now. Read ‘er from the start-off.

The best is yet to come, Bill gloated pantingly, while he held the author’s legs much as he would hold down a yearling. All set, Bud—let ‘er go!

Whereupon Bud cleared his throat and began again, rolling the words out sonorously, so that Mary V heard every word distinctly:

’Before I die, I’ll ride the sky; I’ll part the clouds like foam. I’ll brand each star with the Rolling R, And lead the Great Bear home.’

Say, that’s swell! a little fellow they called Curley interjected. By gosh, that’s darned good po’try! I never knowed Johnny could—

He was frowned into silence by the reader, who went on exuberantly, the lines punctuated by profane gurgles from the author.

Now this here, Bud paused to explain, "was c’lab’rated on by Mary V. The first line was wrote by our ‘steemed young friend an’