The Bandit of Hell's Bend(Annotated)

By Edgar Rice Burroughs and Muhammad Humza

The Bandit of Hell's Bend by the most well-known author of the Tarzan series.  All of the words have been rewritten in a unique way to grab your interest. Western, action, and adventure are the genres of this novel.

• Language: English
• Publisher: Muhammad Humza
• Release date: Jun 3, 2022
• ISBN: 9791222056593

Edgar Rice Burroughs

Edgar Rice Burroughs (1875-1950) is the creator of Tarzan, one of the most popular fictional characters of all time, and John Carter, hero of the Barsoom science fiction series. Burroughs was a prolific author, writing almost 70 books before his death in 1950, and was one of the first authors to popularize a character across multiple media, as he did with Tarzan’s appearance in comic strips, movies, and merchandise. Residing in Hawaii at the time of the attack on Pearl Harbour in 1941, Burroughs was drawn into the Second World War and became one of the oldest war correspondents at the time. Edgar Rice Burroughs’s popularity continues to be memorialized through the community of Tarzana, California, which is named after the ranch he owned in the area, and through the Burrough crater on Mars, which was named in his honour.

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Edgar Rice Burroughs Biography

EDGAR RICE BURROUGHS (1875-1950) was an American adventure writer whose Tarzan stories created a folk hero known around the world. His novels sold more than 100 million copies in 56 languages, making him one of the most widely read authors of the twentieth century.

Edgar Rice Burroughs was born September 1, 1875, in Chicago, Illinois, to George Tyler and Mary Evaline (Zeiger) Burroughs. His father was successful in business, and worked as a distiller and a battery manufacturer. Burroughs was educated at private schools in Chicago and in the state of Michigan. After his graduation from the Michigan Military Academy, he joined the U.S. Cavalry for a tour of duty in Arizona in 1896. He was not suited to this life and, thanks to his father's wealth and position, he left the military the following year. He briefly owned a stationary store in Idaho before moving back to Chicago and a position with the American Battery Company. Burroughs married Emma Centennia Hulbert on January 1, 1900; the couple would have three children: Joan, Hulbert, and John Coleman. A few years after the marriage, Burroughs again tried to seek his fortune in the West, holding various jobs in Idaho and Utah. By 1906, he was back in Chicago and working for Sears, Roebuck and Company. After several attempts to start his own business, Burroughs turned to writing as a career.

Many reviewers and biographers have often described Burroughs as a failed pencil-sharpener salesman who just wanted to support his wife and children when he began writing. Others note that it was the company that had failed, not Burroughs, and that he had succeeded in numerous jobs. In any case, Burroughs began his writing career with a Martian tale, best known by its hardback title: A Princess of Mars. The story was written in 1911, and published under the pseudonym Normal Bean (to let readers know he was not crazy and had a normal bean) in All-Story magazine in 1912. The tale was not published in hardback until 1917. Astronomer Percival Lowell's theories of the canals of Mars were at the height of their popularity in 1911, and fired Burroughs' imagination. There were eleven books in the Mars series, the last of which, John Carter of Mars, was published fourteen years after the author's death.

The main character of the Mars series is John Carter, a gentleman from Virginia. In the first story, he falls into a cave only to wake up on the planet Mars-a sort of death that brings him to a new life. An adventurous man throughout the series, he saves women from villains, rescues the planet, and shows the various colored Martians that they need each other to survive. One year after the publication of A Princess of Mars in book form, Burroughs released The Gods of Mars. Additional installments of the John Carter saga appeared on a regular basis, including The Warlords of Mars (1919), Thuvia, Maid of Mars (1920), The Chessmen of Mars (1922), The Master Mind of Mars (1928), and A Fighting Man of Mars (1931). John Hollow, writing in the Dictionary of Literary Biography, praised the first three novels of the series as a particularly fine instance of science fiction's attempt to cope with what Burroughs himself called 'the stern and unalterable cosmic laws,' the certainty that both individuals and whole races grow old and die.

Best Known for His Tarzan Books

The appearance of Burroughs' second published story, Tarzan of the Apes, in All-Story magazine in 1912, and the publication of the novel in hardcover form in 1914, made him a best-selling author. Thereafter, he devoted himself exclusively to writing. Although Burroughs wrote almost all types of popular fiction, he is perhaps most famous for the Tarzan series. The lead character, Tarzan, is the son of an English noble who is adopted by a female ape in the African jungle. He learns English, grows into manhood, meets and falls in love with Jane, the daughter of an American scientist, and recovers his title-all in the first two of 26 stories.

Tarzan of the Apes captured the public's imagination and the series proved to be a success. Only a few fictional heroes, such as Robin Hood and Superman, are as famous as Tarzan. People might not remember the author, but most everyone, including small children, recognize the name of the main character, often responding with a Tarzan-like yell. The Tarzan stories have been translated into more than 56 languages, and reportedly more than 25,000,000 copies of the Tarzan books have been sold worldwide. Burroughs' novels were so financially rewarding that he was able to open his own publishing house, named after himself and called Burroughs. Beginning with the 1931 release, Tarzan the Invincible, he published his own works.

The character of Tarzan has been the subject of comic strips, radio serials, three television series, and at least 40 movies, including a Disney animated film and a 1998 spoof, George of the Jungle. Tarzan of the Apes was first made into a silent film in 1918, with Elmo Lincoln as Tarzan. More than a dozen actors have since starred in the role, the most popular having been Johnny Weissmuller, a former Olympic swimming champion. Most of the actors in Tarzan films were in fine physical shape, but they still faced risks. In the 1920 serial, The Son of Tarzan, Hawaiian actor Kamuela Searle was seriously injured by an elephant and a stand-in had to be used to complete the film; Searle later died of his injuries.

Not Without Controversy

Burroughs and his Tarzan character have not been without controversy. Burroughs, who himself has been accused of racism in his portrayal of Africa, disliked how films usually made Tarzan a grunting savage. He portrayed Tarzan in his novels as an erudite and wealthy heir to the House of Greystoke, equally at home in the jungle or polite society. Novels such as The Return of Tarzan (1915), The Beasts of Tarzan (1916), Tarzan and the Jewels of Opar (1918), and Tarzan and the Golden Lion (1923) continued this tradition. The last volume in the series, Tarzan and the Castaways, was released in 1965. As George P. Elliott noted in the Hudson Review, Burroughs' "prejudices are so gross that no one bothers to analyze them out or to attack them.... They were clear-eyed, well-thewed prejudices arrayed only in a loin cloth; you can take them or leave them, unless your big prejudice happens to be anti-prejudice. What matters is the story, which tastes good."

Burroughs' Tarzan series received other criticism. Although a favorite with readers, the Tarzan books have been dismissed by literary critics as cheap pulp fiction. Brian Attebury, writing in The Fantasy Tradition in American Literature: From Irving to Le Guin, commented: Burroughs was neither more nor less than a good storyteller, with as much power-and finesse-as a bulldozer. Details of the Tarzan books have come under scrutiny, and even anthropologists have taken Burroughs to task, insisting that he was wrong in writing that great apes raised Tarzan. They insisted that the young Tarzan could not possibly have learned to swing through the trees so gracefully with a chimpanzee as his tutor. For him to have achieved such agility his instructor must have been an orangutan. Burroughs fans argue, however, that the apes in the Tarzan series were neither chimpanzees nor orangutans but a man-like invention of the author. Burroughs himself claimed that he never tried to do more than entertain his readers, and was honest about his need for money. I had a wife and two babies, he once explained.

Burroughs envisioned his Tarzan stories as wholesome family entertainment. Not all portrayals of Tarzan have had the family in mind, however, and Burroughs' descendants, who still run the company bearing his name from Tarzana, California (an estate near Hollywood, California, Burroughs bought in 1919 and later named), have found it necessary to go to court. In 1996, for example, the family filed a law suit against the makers of Jungle Heat, alleging that the interactive CD-ROM was the antithesis to the good, wholesome and attractive images of Tarzan, as noted in the Los Angeles Times. There have been countless imitations of Tarzan, such as a jungle man called Tongo on the television series Gilligan's Island, and a Listerine commercial in which a Tarzan-like character swings on a vine barefoot while in a tuxedo. But many of these imitations are either protected by the legal safeguards for satire, or use material in the public domain-fair game after the expiration of copyright protection, which is limited in time. But Burroughs not only copyrighted the books, he covered the character of Tarzan with a trademark-which does not expire. In 1923, the author founded the family corporation, establishing the trademark to forever control products that used the name or likeness of Tarzan, from movies to comic books and T-shirts.

Later Career and Other Novels

Later in his career, Burroughs began corresponding with scientists to learn all that was known about the planet Venus. Provided with these ideas, he started a new series. Beginning with the publication of Pirates of Venus in 1934, Burroughs published four more volumes in this set, including Lost on Venus (1935), Carson of Venus (1939), and Escape from Venus (1946). His last book in the series, The Wizard of Venus, was released in 1970. As the first book in the Venus series was getting published, Burroughs divorced his wife of 34 years; he married his second wife, Florence Dearholt, in 1935.

Burroughs also wrote four western adventure stories, all carefully researched and based on his experience as a cowboy on his older brothers' ranch in Idaho as a young man and as a cavalry soldier in Arizona. Some critics consider these the best of his writing, particularly the sympathetic treatment of Geronimo and his renegade Apaches. Among the novels written in this genre include Apache Devil (1933) and The Deputy Sheriff of Comanche County (1940).

Burroughs continued to write novels for the rest of his life, ultimately publishing some 68 titles in all. During World War II, he served as a journalist with the United Press and, at age 66, was the oldest war correspondent covering the South Pacific theater. Burroughs died of a heart attack on March 19, 1950. A number of his novels were published posthumously. Even after his death, Burroughs remained a popular author, and he sold millions of books in paperback.

The University of Louisville Library owns the largest institutional archive of Burroughs' works. The collection contains more than 67,000 items ranging in scope from the author's earliest school books to promotional materials from the 1990s. The library's collection of Tarzan memorabilia includes film stills and posters featuring 19 Tarzan actors. It also includes the best and most celebrated book artists, including J. Allen St. John, who illustrated a total of 33 first editions of Burroughs. Other artists featured in the collection include Frank Frazetta, whose works adorned the first paperback Burroughs books of the 1960s, and John Coleman Burroughs, the author's son, who illustrated eleven first editions of his father's stories. The collection also includes items from Burroughs' personal life and affairs, samples of his books, pulp editions, letters, merchandising goods and many photographs taken over the last 100 years.

Table of Contents

Title

About

Chapter 1 - TOUGH LUCK

Chapter 2 - THE HOLDUP

Chapter 3 - SUSPICIONS

Chapter 4 - I LOVE YOU

Chapter 5 - THE ROUND-UP

Chapter 6 - THE RENEGADES

Chapter 7 - EXIT WAINRIGHT

Chapter 8 - YOU DON'T DARE!

Chapter 9 - LILLIAN-MANILL

Chapter 10 - WILDCAT BOB GOES COURTING

Chapter 11 - RIDE HIM, COWBOY!

Chapter 12 - CORSON SPEAKS

Chapter 13 - THE NECKTIE PARTY

Chapter 14 - BULL SEES COLBY

Chapter 15 - NOW, GO!

Chapter 16 - COMMON CRIMINALS

Chapter 17 - THE BLACK COYOTE

Chapter 18 - THROUGH THE NIGHT

Chapter 19 - TELL ME THAT YOU LOVE ME!

Chapter

1

TOUGH LUCK

A HALF-DOZEN MEN SPRAWLED comfortably in back-tilted chairs against the side of the Bar Y bunk-house at the home ranch. They were young men, lithe of limb, tanned of face and clear of eye. Their skins shone from recent ablutions and their slicked hair was still damp, for they had but just come from the evening meal, and meals at the home ranch required a toilet.

One of them was singing.

In the shade of a tree we two sat, him an' me, Where the Haegler Hills slope to the Raft While our ponies browsed 'round, reins a-draggin' the ground; Then he looks at me funny an' laft.

Most anyone would, interrupted a listener.

Shut up, admonished another, I ain't only heered this three hundred an' sixty-five times in the las' year. Do you think I want to miss anything?

Unabashed, the sweet singer continued.

'Do you see thet there town?' he inquires, pintin' down To some shacks sprawlin' 'round in the heat. I opined thet I did an' he shifted his quid After drowndin' a tumble-bug neat. Then he looks at me square. 'There's a guy waitin' there Thet the sheep-men have hired to git me. Are you game to come down to thet jerk-water town Jest to see what in Hell you will see?'

One of the group rose and stretched, yawning. He was a tall, dark man. Perhaps in his expression there was something a bit sinister. He seldom smiled and, when not in liquor, rarely spoke.

He was foreman-had been foreman for over a year, and, except for a couple of sprees, during which he had playfully and harmlessly shot up the adjoining town, he had been a good foreman, for he was a thorough horseman, knew the range, understood cattle, was a hard worker and knew how to get work out of others.

It had been six months since he had been drunk, though he had taken a drink now and then if one of the boys chanced to bring a flask back from town. His abstinence might have been accounted for by the fact that Elias Henders, his boss, had threatened to break him the next time he fell from grace.

You see, Bull, the old man had said, we're the biggest outfit in this part of the country an' it don't look good to see the foreman of the Bar Y shootin' up the town like some kid tenderfoot that's been slapped in the face with a bar-rag. You gotta quit it, Bull; I ain't a-goin' to tell you again.

And Bull knew the old man wouldn't tell him again, so he had stayed good for six long months. Perhaps it was not entirely a desire to cling to the foreman's job that kept him in the straight and narrow path. Perhaps Diana Henders' opinion had had more weight with him than that of her father.

I'm ashamed of you, Bull, she had said, and she refused to ride with him for more than a week. That had been bad enough, but as if to make it worse she had ridden several times with a new hand who had drifted in from the north a short time before and been taken on by Bull to fill a vacancy.

At first Bull had not liked the new man. He's too damned pretty to be a puncher, one of the older hands had remarked, and it is possible that the newcomer's rather extreme good looks had antagonized them all a little at first, but he had proven a good man and so the others had come to accept Hal Colby in spite of his wealth of waving black hair, his perfect profile, gleaming teeth and laughing eyes.

So I told him I'd go, fer I liked thet there bo, And I'd see thet the shootin! was fair; But says he: 'It is just to see who starts it fust Thet I wants anyone to be there.' I'm going to turn in, remarked Bull.

Hal Colby rose. Same here, he said, and followed the foreman into the bunk-house. A moment later he turned where he stood beside his bunk and looked at Bull who was sitting on the edge of his, removing his spurs. The handsome lips were curved in a pleasant smile. Lookee here, Bull! he whispered, and as the other turned toward him he reached a hand beneath the bag of clothes that constituted his pillow and drew forth a pint flask. Wet your whistle? he inquired.

Don't care if I do, replied the foreman, crossing the room to Colby's bunk.

Through the open window floated the drawling notes of Texas Pete's perennial rhapsody.

When the jedge says: 'Who drew his gun fust, him or you?' Then I wants a straight guy on my side, Fer thet poor puddin' head, why, he's already dead With a forty-five hole in his hide.

Here's lookin' at you! said Bull.

Drink hearty, replied Colby.

'Taint so bad at that, remarked the foreman, wiping his lips on the cuff of his shirt and handing the flask back to the other.

Not so worse for rot-gut, agreed Colby. Have another!

The foreman shook his head.

'T won't hurt you any, Colby assured him. It's pretty good stuff.

Sang Texas Pete:

And thet wasn't jest jaw-when it come to a draw This here guy was like lightnin' turned loose. Then we rolls us a smoke an' not neither one spoke 'Til he said: 'Climb aboard your cayuse.' Then we reined down the hill each a-puffin' his pill To the town 'neath its shimmer o' heat An' heads up to the shack that's a-leanin' its back 'Gainst the side o' The Cowboys' Retreat.

Bull took another drink-a longer one this time, and, rolling a cigarette, sat down on the edge of Colby's bunk and commenced to talk-whiskey always broke the bonds of his taciturnity. His voice was low and not unpleasant.

He spoke of the day's work and the plans for tomorrow and Hal Colby encouraged him. Perhaps he liked him; perhaps, like others, he felt that it paid to be on friendly terms with the foreman.

While from outside:

It is Slewfoot's Good Luck where they hand you out chuck Thet is mostly sow-belly an' beans. Says he: 'Bub, let's us feed-I'm a-feelin' the need O' more substance than air in my jeans.' So of Slewfoot was there, all red freckles an' hair, An' we lined our insides with his grub. Says Bill, then: 'Show your gait-let's be pullin' our freight, Fer I'm rarin' to go,' says he, 'Bub.'

Inside the bunk-house Bull rose to his feet. That's damn good stuff, Hal, he said. The two had emptied the flask.

Wait a minute, said the other, I got another flask, and reached again beneath his bag.

No, demurred the foreman, I guess I got enough.

Oh, hell, you ain't had none yet, insisted Colby.

The song of Texas Pete suffered many interruptions due to various arguments in which he felt compelled to take sides, but whenever there was a lull in the conversation he resumed his efforts to which no one paid any attention further than as they elicited an occasional word of banter.

The sweet singer never stopped except at the end of a stanza, and no matter how long the interruption, even though days might elapse, he always began again with the succeeding stanza, without the slightest hesitation or repetition. And so now, as Bull and Colby drank, he sang on.

'Now we'll sashay next door to thet hard-Ticker store Where his nibs is most likely to be An' then you goes in first an' starts drowdin' your thirst; But a-keepin' your eyes peeled fer me.'

Bull, the foreman, rose to his feet. He stood as steady as a rock, but Colby saw that he was drunk. After six months' of almost total abstinence he had just consumed considerably more than a pint of cheap and fiery whiskey in less than a half hour.

Goin' to bed? asked Colby.

Bed, hell, replied the other. I'm goin' to town-it's my night to howl. Comin'?

No, said Colby. I think I'll turn in. Have a good time.

I sure will. The foreman walked to his bunk and strapped his guns about his hips, resumed the single spur he had removed, tied a fresh black silk handkerchief about his neck, clapped his sombrero over his shock of straight black hair and strode out of the bunk-house.

'Fer I wants you to see thet it's him draws on me So the jedge he cain't make me the goat.' So I heads fer that dump an' a queer little lump Starts a-wrigglin' aroun' in my throat.

Say, where in hell's Bull goin' this time o' night? Pete interrupted himself.

He's headin' fer the horse c'rel, stated another.

Acts like he was full, said a third. Didje hear him hummin' a tune as he went out? That's always a sign with him. The stuff sort o' addles up his brains, like Pete's always is, an' makes him sing.

Fer I wants you to know thet I likes thet there bo An' I'd seen more than one good one kilt, Fer you cain't never tell, leastways this side o' Hell, When there's shootin' whose blood will be spilt.

There he goes now, said one of the men as the figure of a rider shown dimly in the starlight loped easily away toward the south, an' he's goin' toward town.

I wonder, said Texas Pete, if he knows the old man is in town tonight.

Jest inside o' the door with one foot on the floor An' the other hist up on the rail Stands a big, raw-boned guy with the orn'riest eye Thet I ever seen outen a jail.

By gollies, I'm goin' after Bull. I doan b'lieve he-all knows thet the of man's in town, and leaping to his feet he walked off toward the horse corral, still singing:

An' beside him a girl, thet sure looked like a pearl Thet the Bible guy cast before swine, Was a-pleadin' with him, her eyes teary an' dim, As I high-sign the bar-keep fer mine.

He caught up one of the loose horses in the corral, rammed a great, silver-mounted spade bit between its jaws, threw a heavy, carved saddle upon the animal's back, stepped one foot into a trailing, tapaderaed stirrup and was off in a swirl of dust. Texas Pete never rode other than in a swirl of dust, unless it happened to be