TCU Press has traditionally published the history and literature of Texas and the American West. As the press has grown steadily in stature and in its ability to bring credit to its parent university over the last twenty years, it has been praised for publishing regional fiction, which often doesn’t find a market in New York, and for discovering and preserving local history.
During the heyday of McCarthyism, the Chicago Tribune, offended by something he had written, contemptuously dismissed Paul Boller as "an obscure professor" - he was then teaching at Southern Methodist University in Dallas, Texas. Some forty-five years later, reflecting on the incident, Boller wrote an essay on what it was like to be an obscure professor at one of America's less publicized campuses in a conservative community during the late 1950s and early 1960s. That essay became the foundation for this collection of autobiographical selections reflecting the interests and pursuits of a man who gained national recognition, both inside the academic community and beyond, but still values his obscurity. Whether it is a study of the much-maligned Calvin Coolidge or an account of his Navy service as a translator of Japanese during World War II, Boller brings to his writing a fresh approach and a lively and wry wit.
Late in life, Clayton Elliot faces long-deferred, hard choices. Circumstances force him to bury his recently deceased wife, Adelita, in the little West Texas border town of Solitario instead of next to their three-year old daughter on their hardpan ranch. To pay for Adelita’s cancer treatments, Clayton sold this marginal ranchland to water developers.
By reuniting Serafina with her mother in Solitario, Clayton hopes to assuage his guilt about her death twenty-five years earlier. However, whether Clayton moves Serafina immediately or ignores the contracted deadline, either act will trigger drilling into the aquifer for water. His lifelong friends are vehemently opposed to drilling.
When a young Mexican woman mysteriously enters his life, Clayton must delay his efforts to move Serafina and surreptitiously help this woman who has illegally crossed into Texas. This decision also raises the ire of Clayton’s friends.
Throughout the novel, Clayton struggles with both the internal and external borders of his life. And the eccentric characters of Solitario find they, too, must confront their own geographical, psychological, and racial boundaries.
Robert Flynn has built a richly humorous, poignantly tragic novel around a cattle drive that forces cowboys to herd cattle on foot, to lower themselves to milk a wild longhorn, to tend a baby as well as a herd. At the center of the tale is Lampassas, the storekeeper who has heard the tales of the trail so often he knows the route by heart. Risking all for one last grand adventure, he heads for Trail's End with a herd of straggly, bony longhorns and an odd company of hands: Jamie, his reluctant son; Preacher, a self-ordained revivalist; Gattis, a farm boy never meant to wear cowboy boots; June, a stable hand who finds confidence and courage from his six-shooter; and Pretty Shadow, a drifting cowboy seeking the love of his early youth. Add to this group Covina, a riotously bold but appealing girl with an illegitimate baby, and you have the wildest, most improbable trail driving crew ever. At once magnificent and absurd, Lampassas holds the long drive together in the face of stampedes, drouth, flood, and horse thieves.
"It's the first feller that does something that is the hero, and the last feller that does it that is the fool," Preacher tells Lampassas. But Lampassas and his crew are made great by the enormity of their folly, the strength of their dream.
From the Guadalupe Mountains of the Chihuahuan Desert to the Hill Country to the Red River, the vast geographic landscape of Texas has afforded the cultural depth and diversity to inspire its writers. The richness of Texas folklore, history, and traditions has left an unmistakable mark on the art of the region. Both native and transplant Texas writers alike have been keenly shaped by the distinctive aroma of fresh corn tortillas, tales of Mescalero Apaches, and Tejano and ranchera music.
Jameson has compiled an assorted collection of fourteen essays by some of the most prominent Texas writers through which he hopes to explore the following questions: “How did they accomplish their goals? Why did they choose the writing life? What influence did the history, lore, and culture of Texas play in their creative process?” While readily citing the “decidedly Texas flavor” in his own fiction, Jameson seeks to uncover the inspirations in other writers from both the expansive and rugged Texas terrain as well as the varied people therein.
The fourteen writers who comprise Notes from Texas range from the captivating and often humorous essayist Larry L. King to the beloved historical novelist Elmer Kelton. Other contributors include James Ward Lee, known for his expertise in Texas cuisine and culture, and poet and songwriter Red Steagall. This collection bestows each with a “chance to express what they wished to share about their art and their life as a Texas writer.”
Roger Jackson is a grouch. He drinks too much with the wrong sorts of people. He dislikes where he lives—Beaumont, Texas, a small, humid southeast Texas town caught between a marsh and an impenetrable forest, between racial and social strife, between rival versions of Jesus. He dislikes his job—taking photos of cheating spouses. He dislikes his past. (He could have been a lawyer.) And now, he finds himself entangled in a crime.
When the police find an aging ex-hippie dead from bullet wounds to the head and torso, they find Roger’s photos and want his help. Surrounded by a cast of colorful characters, Roger must do his job while maneuvering around the dangerous agendas of those around him. But the greatest obstacle is the recurring cocaine trail leading to Jewel McQueen, a small-time crook, who is guarded by his sociopathic brother, Sunshine McQueen, who hears voices from Jesus, Satan, and his mother. Jewell will stop at nothing—even murder—to keep his demented brother out of prison.
Roger must leave the enclosed suburbs with their exclusive, prim, cleaned-up Jesus and cheap cocaine and liquor habits and, with his new partners, venture “behind the pine curtain,” into the deep Piney Woods with its wild, unruly Pentecostal Jesus and meth-lab economy and mentality.
When Roger Bechan was six, his mother packed his suitcase and took him to the Oklahoma Society for the Friendless. He never saw her again. No wonder he and his orphan friends omit the tenth commandment—to "honor your father and mother."
His long journey through three orphanages and several foster homes is recalled with surprising humor and insight. Eventually, the boy finds a home in a small Oklahoma oil town, obtains degrees from two universities, marries and raises three sons, and becomes the youngest director of the San Francisco Public Library and an award-winning book designer.
The book is an unsentimental look at Bechan’s life in the child welfare system of Depression-era Oklahoma.
Ruffin uses alliteration and subtle textured sounds throughout his poetry, making them likeably conversational while full of crafted sound patterns. Ruffin also employs whimsical narratives, coining the word “Necrofiligumbo” in “When the Mummy Became a Mommy.” But, Hill explains, the true power of this book comes from its storytelling. With the new material, readers will encounter compelling, often drop-dead funny storytelling.
Playing Custer is a novel narrated from varying points of view and time, illuminating personal and political events leading up to the death of General George Armstrong Custer. The historic events are framed by the story of two men from the late twentieth century—one white and one Native American—who travel together to the annual reenactment of the battle at the Little Bighorn National Monument battlefield.
Chatting during their journey, the two reenactors discuss their obsessions, personal ambitions, and failures of nerve. Interwoven with their progress toward the battle are narrations, journal entries, and first-person viewpoints from many others who were actually involved in the historic events. Soldiers and scouts for the cavalry; Sioux, Crow, and Cheyenne witnesses; and wives and daughters all offer their versions of “truth,” establishing a texture and depth of irony, humor, and tragic meaning to those modern Americans driven to attempt to “play Custer.”
This year—a special anniversary of the real battle—they are suddenly chosen for crucial new roles. This time, they will play Custer and Crazy Horse.
All builds toward the real and reenacted final moments on the battlefield of Custer’s last stand.
The State of Texas has honored Texas Poets Laureate for seventy-three years, but much of their work has gone unpublished and unrecognized. In a significant step toward recognizing the achievements of the Texas Poets Laureate, TCU Press will publish a series of the work of the Poets Laureate, with a volume dedicated to each poet. The series begins with the 2005 and 2006 Texas Poets Laureate, Alan Birkelbach and Red Steagall, and will continue through the next five appointments. These beautiful volumes collect the finest work of each individual poet. While a single volume may stand alone as a valuable selection of a poet’s work, the series as a whole will draw their different voices together into a singular poetic expression of Texas.
Red Steagall has made his career in bringing the cowboy way of life into the public eye through many different media, and his poetry has been an important part of this effort. Here, it speaks as poetry in its own right. His poems, however, never lack a musical, songlike quality; his lilting rhythms carry the reader through the journey that each poem represents. Steagall’s poems chart the changing of the land and the passing of generations, but they rest on the solid ground of a steady faith.
Tom Hardy’s new novel, Slow Moving Dreams, tells the story of Tom Carter, a city man who is forced by the death of a cousin to return to his rural roots in West Texas. Hardy takes his readers along two journeys in this novel: the first is the physical journey that Tom takes as he drives to the funeral in Alpine, and the second is an exploration of Tom’s life as a child growing up in the country that the adult Tom is now passing through. But not all of those memories are happy ones, as Tom and his cousins soon find out. The funeral starts to unravel a dark secret that could change everything Tom thought he knew about his family. Hardy breathes life into all of his characters with his witty dialogue and nostalgic memory sequences. Slow Moving Dreams is a story of homecoming and family bonds that, in this age of consumerism and technology, is a refreshing change of pace. For those familiar with the lifestyle of the modern cowboy, the life Tom Carter remembers is a reminder of the old days, when nature provided everything one could ever need. But all readers, new to the cowboy’s world or not, are in for a fun, heart-warming tale as they follow Tom’s exploration of his past and realizations about his future.
Use the simple Search box at the top of the page or the Advanced Search linked from the top of the page to find book and journal content. Refine results with the filtering options on the left side of the Advanced Search page or on your search results page. Click the Browse box to see a selection of books and journals by: Research Area, Titles A-Z, Publisher, Books only, or Journals only.