The Quirt

By Bertha Muzzy Bower

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• Language: English
• Publisher: Curzon Press
• Release date: Sep 19, 2017
• ISBN: 9781528780148

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THE QUIRT

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 ONE

LITTLE FISH

CHAPTER TWO

THE ENCHANTMENT OF LONG DISTANCE

CHAPTER THREE

REALITY IS WEIGHED AND FOUND WANTING

CHAPTER FOUR

SHE’S A GOOD GIRL WHEN SHE AIN’T CRAZY

CHAPTER FIVE

A DEATH BY ACCIDENT

CHAPTER SIX

LONE ADVISES SILENCE

CHAPTER SEVEN

THE MAN AT WHISPER

CHAPTER EIGHT

IT TAKES NERVE JUST TO HANG ON

CHAPTER NINE

THE EVIL EYE OF THE SAWTOOTH

CHAPTER TEN

ANOTHER SAWTOOTH ACCIDENT

CHAPTER ELEVEN

SWAN TALKS WITH HIS THOUGHTS

CHAPTER TWELVE

THE QUIRT PARRIES THE FIRST BLOW

CHAPTER THIRTEEN

LONE TAKES HIS STAND

CHAPTER FOURTEEN

FRANK’S DEAD

CHAPTER FIFTEEN

SWAN TRAILS A COYOTE

CHAPTER SIXTEEN

THE SAWTOOTH SHOWS ITS HAND

CHAPTER SEVENTEEN

YACK DON’T LIE

CHAPTER EIGHTEEN

I THINK AL WOODRUFF’S GOT HER

CHAPTER NINETEEN

SWAN CALLS FOR HELP

CHAPTER TWENTY

KIDNAPPED

CHAPTER TWENTY-ONE

OH, I COULD KILL YOU!

CHAPTER TWENTY-TWO

YACK, I LICK YOU GOOD IF YOU BARK

CHAPTER TWENTY-THREE

I COULDA LOVED THIS LITTLE GIRL

CHAPTER TWENTY-FOUR

ANOTHER STORY BEGINS

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 ONE

LITTLE FISH

Quirt Creek flowed sluggishly between willows which sagged none too gracefully across its deeper pools, or languished beside the rocky stretches that were bone dry from July to October, with a narrow channel in the center where what water there was hurried along to the pools below. For a mile or more, where the land lay fairly level in a platter-like valley set in the lower hills, the mud that rimmed the pools was scored deep with the tracks of the TJ up-and-down cattle, as the double monogram of Hunter and Johnson was called.

A hard brand to work, a cattleman would tell you. Yet the TJ up-and-down herd never seemed to increase beyond a niggardly three hundred or so, though the Quirt ranch was older than its lordly neighbors, the Sawtooth Cattle Company,  who numbered their cattle by tens of thousands and whose riders must have strings of fifteen horses apiece to keep them going; older too than many a modest ranch that had flourished awhile and had finished as line-camps of the Sawtooth when the Sawtooth bought ranch and brand for a lump sum that looked big to the rancher, who immediately departed to make himself a new home elsewhere: older than others which had somehow gone to pieces when the rancher died or went to the penitentiary under the stigma of a long sentence as a cattle thief. There were many such, for the Sawtooth, powerful and stern against outlawry, tolerated no pilfering from their thousands.

The less you have, the more careful you are of your possessions. Hunter and Johnson owned exactly a section and a half of land, and for a mile and a half Quirt Creek was fenced upon either side. They hired two men, cut what hay they could from a field which they irrigated, fed their cattle through the cold weather, watched them zealously through the summer, and managed to ship enough beef each fall to pay their grocery bill and their men’s wages and have a balance sufficient to buy what clothes they  needed, and perhaps pay a doctor if one of them fell ill. Which frequently happened, since Brit was becoming a prey to rheumatism that sometimes kept him in bed, and Frank occasionally indulged himself in a gallon or so of bad whisky and suffered afterwards from a badly deranged digestion.

Their house was a two-room log cabin, built when logs were easier to get than lumber. That the cabin contained two rooms was the result of circumstances rather than design. Brit had hauled from the mountain-side logs long and logs short, and it had seemed a shame to cut the long ones any shorter. Later, when the outside world had crept a little closer to their wilderness—as, go where you will, the outside world has a way of doing—he had built a lean-to shed against the cabin from what lumber there was left after building a cowshed against the log barn.

In the early days, Brit had had a wife and two children, but the wife could not endure the loneliness of the ranch nor the inconvenience of living in a two-room log cabin. She was continually worrying over rattlesnakes and diphtheria and pneumonia, and begging Brit to sell out and live in town. She had married him because he was a  cowboy, and because he was a nimble dancer and rode gallantly with silver-shanked spurs ajingle on his heels and a snakeskin band around his hat, and because a ranch away out on Quirt Creek had sounded exactly like a story in a book.

Adventure, picturesqueness, even romance, are recognized and appreciated only at a distance. Mrs. Hunter lost the perspective of romance and adventure, and shed tears because there was sufficient mineral in the water to yellow her week’s washing, and for various other causes which she had never foreseen and to which she refused to resign herself.

Came a time when she delivered a shrill-voiced, tear-blurred ultimatum to Brit. Either he must sell out and move to town, or she would take the children and leave him. Of towns Brit knew nothing except the post-office, saloon, cheap restaurant side,—and a barber shop where a fellow could get a shave and hair-cut before he went to see his girl. Brit could not imagine himself actually living, day after day, in a town. Three or four days had always been his limit. It was in a restaurant that he had first met his wife. He had stayed three days when he had meant to finish his business in one, because there was an  awfully nice girl waiting on table in the Palace, and because there was going to be a dance on Saturday night, and he wanted his acquaintance with her to develop to the point where he might ask her to go with him, and be reasonably certain of a favorable answer.

Brit would not sell his ranch. In this Frank Johnson, old-time friend and neighbor, who had taken all the land the government would allow one man to hold, and whose lines joined Brit’s, profanely upheld him.