Highlights a little-known expedition of General George Custer to the Black Hills of South Dakota, showing how it set the stage for later conflict with the Sioux and the Battle of Little Bighorn. This fascinating narrative history tells the story of General George Armstrong Custer's 1874 expedition into the Black Hills of South Dakota and reveals how it set the stage for the climactic Battle of the Little Bighorn two years later. What is the significance of this obscure foray into the Black Hills? The short answer, as the author explains, is that Custer found gold. This discovery in the context of the worst economic depression the country had yet experienced spurred a gold rush that brought hordes of white prospectors to the Sioux's sacred grounds. The result was the trampling of an 1868 treaty that had granted the Black Hills to the Sioux and their inevitable retaliation against the white invasion. The author brings the era of the Grant administration to life, with its "peace policy" of settling the Indians on reservations, corrupt federal Indian Bureau, Gilded Age excesses, the building of the western railroads, the white settlements that followed the tracks, the Crash of 1873, mining ventures, and the clash of white and Indian cultures with diametrically opposed values. The discovery of gold in the Black Hills was the beginning of the end of Sioux territorial independence. By the end of the book it is clear why the Sioux leader Fast Bear called the trail cut by Custer to the Black Hills "thieves' road."

A collection of some of the most well-known stories by one of America's premier adventure writers.

The eve of World War II. A Hollywood producer's murdered wife. Her husband's guilty memory of a shipboard romance. A stolen painting signed "Picasso." French gangsters. A beautiful courtesan. A shoot-out in a brasserie. All these and more confront Private Detective Riley Fitzhugh as he travels from Hollywood to the Riviera, Paris, and London in search of his client's vanished dream girl and some answers. Is the painting a genuine Picasso or just a clever forgery? Who is responsible for the corpses that keep littering his path and complicating the investigation? And whatever happened to Amanda Billingsgate?

Hollywood in the Thirties: Nazi saboteurs, gangsters running gambling ships, British spies and diplomats, FBI agents, starlets looking for the big break, cheap hustlers on the fringes of the law, local cops-some are friends and some are adversaries, but all are involved somehow with Riley Fitzhugh, a private eye who's wondering whether the death of an English aristocrat really was an accident.

Hollywood, 1934. Prohibition is finally over, but there is still plenty of crime for an ambitious young private eye to investigate. Though he has a slightly checkered past, Riley Fitzhugh is well connected in the film industry and is hired by a major producer-whose lovely girlfriend has disappeared. He also is hired to recover a stolen Monet, a crime that results in two murders initially, with more to come. Along the way, Riley investigates the gambling ships anchored off LA, gets involved with the girlfriend of the gangster running one of the ships, and disposes of the body of a would-be actor who assaults Riley's girlfriend. He also meets an elegant English art history professor from UCLA who helps Riley authenticate several paintings and determine which ones are forgeries. Riley lives at the Garden of Allah Hotel, the favorite watering place of screenwriters, and he meets and unknowingly assists many of them with their plots. Incidentally, one of these gents, whose nom de plume is "Hobey Baker," might actually be F. Scott Fitzgerald.

Riley Fitzhugh is temporarily assigned as officer in charge of the naval guard on board the SS Carlota, a merchant ship assigned to deliver bombs and aviation fuel to the Sebou River during Operation Torch. The Atlantic crossing was supposed to be in convoy, but Carlota breaks down after surviving a U-boat attack and is forced to limp along alone. At the mouth of the Sebou River, Riley rejoins the anti-U-boat vessel Nameless, which has come down from her refit in Scotland to join the Torch attack. When the Nameless is tasked with delivering a company of Army Rangers to capture the French air force base, she and her crew must force their way through the boom guarding the mouth of the river and pass through the gunfire from the French fort on the hills above. Along the way, Riley runs into an old flame or two-one an enemy agent, the other a war correspondent from Cuba.

In February 1861, the twelve-year-old son of Arizona rancher John Ward was kidnapped by Apaches. Ward followed their trail and reported the incident to patrols at Fort Buchanan, blaming a band of Chiricahuas led by the infamous warrior Cochise. Though Ward had no proof that Cochise had kidnapped his son, Lt. George Bascom organized a patrol and met with the Apache leader, who, not suspecting anything was amiss, had brought along his wife, his brother, and two sons. Despite Cochise's assertions that he had not taken the boy and his offer to help in the search, Bascom immediately took Cochise's family hostage and demanded the return of the boy. An incensed Cochise escaped the meeting tent amidst flying bullets and vowed revenge.What followed that precipitous encounter would ignite a Southwestern frontier war between the Chiricahuas and the US Army that would last twenty-five years. In the days following the initial melee, innocent passersby-Apache, white, and Mexican-would be taken as hostages on both sides, and almost all of them would be brutally slaughtered. Cochise would lead his people valiantly for ten years of the decades-long war.Thousands of lives would be lost, the economies of Arizona and New Mexico would be devastated, and in the end, the Chiricahua way of life would essentially cease to exist.In a gripping narrative that often reads like an old-fashioned Western novel, Terry Mort explores the collision of these two radically different cultures in a masterful account of one of the bloodiest conflicts in American frontier history.

Though he made his name and his fortune as an author of Western novels, Zane Grey's best writing has to do with fishing. There he was free from the conventions of the Western genre and the expectations of the market, and he was able to blend his talent for narrative with his keen eye for detail and humor, much of it self-deprecating, into books and articles that are both informative and exciting. His first published fishing article appeared in 1902, and he continued to write books and articles on angling until his death in 1939. From the trout streams and bass rivers of the East to the steelhead rivers of the Northwest; from the offshore angling of Nova Scotia and California to the unexplored waters of New Zealand and the South Sea islands, Grey was constantly in motion, sometimes fishing three hundred days a year, always writing to support his passion. At one time or another he held more than a dozen saltwater records, yet he always returned from the big game to the freshwater streams he had learned to love as a boy. This book is a selection of some of Grey's best work, and the stories and excerpts reveal a man who understood that angling is more than an activity-it is a way of seeing, a way of being more fully a part of the natural world. No writer exceeds Zane Grey's ability to integrate the fishing experience with a world he saw so vividly.

A fascinating account of a dramatic, untold chapter in Hemingway's life--his pursuit of German U-boats during World War II.

From the summer of 1942 until the end of 1943, Ernest Hemingway lived in Havana, Cuba, and spent much of his time in the Gulf Stream hunting German sub- marines in his wooden fishing boat, "The Pilar." This phase of Hemingway's life has only been briefly touched upon in biographies of Hemingway but proved to be of enormous importance to him. At the time, the U-boats were torpedo- ing dozens of Allied tankers each month and threatened America's ability to wage war in Europe. Hemingway's patrols were supported by the U.S. Navy, and he viewed these danger- ous missions as both patriotic duty and pure adventure. But they were more than that: they provided some literary basis for "The Old Man and the Sea" and "Islands in the Stream."

Terry Mort's sensitive portrait of Hemingway also brings us his wife Martha Gellhorn (who was scornful of Hemingway's patrols), a naval account of the U-boat attacks in the vicinity, and a perceptive contemplation of what the patrols meant to Hemingway the man as well as the artist. Drawing on the writer's letters, Gellhorn's memoirs, and the sailor's log of "The Pilar," Mort reveals an important chapter in the life of a""literary legend.