Flying U Ranch

By Bertha Muzzy Bower

The Coming of a Native Son The Happy Family, waiting for the Sunday supper call, were grouped around the open door of the bunk-house, gossiping idly of things purely local, when the Old hIan returned from the Stock Association at Helena beside him on the buggy seat sat a stranger. The Old Man pulled up at the bunk- house, the stranger sprang out over the wheel with the agility which bespoke youthful muscles, and the Old Man introduced him with a quirk of the lips This is Mr. Mig-U-ell Rapponi, boys-a peeler straight from the Goldell Gate. Throw out your war-bag and make yourself to home, Mig-U-ell some of the boys will show you where to bed down. Flying U Ranch The Old Man drove on to the house with his own luggage, and Happy Jack followed to take charge of the team but the remainder of the Happy family unobtrusively took the measure of the foreign elemmt. From his black-and-white horsehair hat- band, with tassels that swept to the very edge of his gray hatbrim, to the crimson silk neckerchief draped over the pale blue bosom of his shirt from the beautifully stamped leather cuffs, down to the exaggerated height of his tau hot-heels, their critical eyes swept in swift, appraising glances and unanimous disapproval was the result. The Happy Family had themselves an eye to picturesque garb upon occasion, but this passed even Pinks love of display. Hes soine gaudy to look at, Irish murmured under his breath to Cal Emnrett. All he lacks is a spot-light and a brass band, Cal returned, in much the same tone with which a woman remarks upon a last seasons hat on the head of a rival. Flying U Ranch Miguel was not embarrassed by the inspection. He was tall, straight, and swarthily handsome, and he stood with the complacence of a stage favorite waiting for the applause to cease so that he might speak his first lines and, while he waited, he sifted tobacco into a cigarette paper daintily, with his little finger extended. There was a ring upon that finger a ring with a moonstone setting as large and round as the eye of a startled cat, and the Happy Family caught the pale gleam of it and drew a Iong breath. He lighted a match nonchalantly, by the artfully simple method of pinching the head of it with his fingernails, leaned negligently against the wall of the bunk-house, and regarded the group incuriously while he smoked, Any pretty girls up this way he inquired languidly, after a moment, fanning a thin smoke-cloud from before his face while he spoke. The Happy Family went prickly hot. The girls in that neighborhood were held in esteem, and there was that in his tone which gave offense. Flying U Ranch Sure, theres pretty girls here Big Medicine bellowed unexpectedly, close heside him. Were all of us engaged to em, by cripes hfiguel shot an oblique glance at Big Medicine, examined the end of his cigarette, and gave a Iift of shoulder, which might mean anything or nothing, and so was irritating to a degree...

• Language: English
• Publisher: Fournier Press
• Release date: Sep 19, 2017
• ISBN: 9781528780063

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Flying U Ranch

by

B. M. Bower

Copyright © 2017 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

Biography of B. M. Bower

The History of Western Fiction

CHAPTER I.

The Coming of a Native Son

CHAPTER II.

When Greek Meets Greek

CHAPTER III.

Bad News

CHAPTER IV.

Some Hopes

CHAPTER V.

Sheep

CHAPTER VI.

What Happened to Andy

CHAPTER VII.

Truth Crushed to Earth, etc.

CHAPTER VIII.

The Dot Outfit

CHAPTER IX.

More Sheep

CHAPTER X.

The Happy Family Herd Sheep

CHAPTER XI.

Weary Unburdens

CHAPTER XII.

Two of a Kind

CHAPTER XIII.

The Happy Family Learn Something

CHAPTER XIV.

Happy Jack

CHAPTER XV.

Oleson

CHAPTER XVI.

The End of the Dots

CHAPTER XVII.

Good News

Biography of 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 I.

The Coming of a Native Son

The Happy Family, waiting for the Sunday supper call, were grouped around the open door of the bunk-house, gossiping idly of things purely local, when the Old Man returned from the Stock Association at Helena; beside him on the buggy seat sat a stranger. The