Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The midnight sun had set, but in a crotch between two snow-peaks it had kindled a vast caldron from which rose a mist of jewels, garnet and turquoise, topaz and amethyst and opal, all swimming in a sea of molten gold. The glow of it still clung to the face of the broad Yukon, as a flush does to the soft, wrinkled cheek of a girl just roused from deep sleep. Except for a faint murkiness in the air it was still day. There was light enough for the four men playing pinochle on the upper deck, though the women of their party, gossiping in chairs grouped near at hand, had at last put aside their embroidery. The girl who sat by herself at a little distance held a magazine still open on her lap. If she were not reading, her attitude suggested it was less because of the dusk than that she had surrendered herself to the spell of the mysterious beauty which for this hour at least had transfigured the North to a land all light and atmosphere and color. Gordon Elliot had taken the boat at Pierre's Portage, fifty miles farther down the river.

Mr. Ridgway, ma'am. The young woman who was giving the last touches to the very effective picture framed in her long looking-glass nodded almost imperceptibly. She had come to the parting of the ways, and she knew it, with a shrewd suspicion as to which she would choose. She had asked for a week to decide, and her heart-searching had told her nothing new. It was characteristic of Virginia Balfour that she did not attempt to deceive herself. If she married Waring Ridgway it would be for what she considered good and sufficient reasons, but love would not be one of them. He was going to be a great man, for one thing, and probably a very rich one, which counted, though it would not be a determining factor. This she could find only in the man himself, in the masterful force that made him what he was. The sandstings of life did not disturb his confidence in his victorious star, nor did he let fine-spun moral obligations hamper his predatory career. He had a genius for success in whatever he undertook, pushing his way to his end with a shrewd, direct energy that never faltered.

For hours Manuel Pesquiera had been rolling up the roof of the ontinent in an observation-car of the "Short Line." His train had wound in and out through a maze of bewild-ering scenery, and was at last dipping down into the basin of the famous gold camp. The alert black eyes of the young New Mexican wandered discontentedly over the raw ugliness of the camp. Towns straggled here and there untidily at haphazard, mushroom growths of a day born of a lucky "strike." Into the valleys and up and down the hillsides ran a network of rails for trolley and steam cars. Everywhere were the open tunnel mouths or the frame shaft-houses perched above the gray Titan dump beards.

Phyllis leaned against the door-jamb and looked down the long road which wound up from the valley and lost itself now and again in the land waves. Miles away she could see a little cloud of dust travelling behind the microscopic stage, which moved toward her almost as imperceptibly as the minute-hand of a clock. A bronco was descending the hill trail from the Flagstaff mine, and its rider announced his coming with song in a voice young and glad. If the girl heard, she heeded not. One might have guessed her a sullen, silent lass, and would have done her less than justice. For the storm in her eyes and the curl of the lip were born of a mood and not of habit. They had to do with the gay vocalist who drew his horse up in front of her and relaxed into the easy droop of the experienced rider at rest.

A girl sat on the mossy river-bank in the dappled, golden sunlight. Frowning eyes fixed on a sweeping eddy, she watched without seeing the racing current. Her slim, supple body, crouched and tense, was motionless, but her soul seethed tumultuously. In the bosom of her coarse linsey gown lay hidden a note. Through it destiny called her to the tragic hour of decision. The foliage of the young pawpaws stirred behind her. Furtively a pair of black eyes peered forth and searched the opposite bank of the stream, the thicket of rhododendrons above, the blooming laurels below. Very stealthily a handsome head pushed out through the leaves. "'Lindy," a voice whispered. The girl gave a start, slowly turned her head. She looked at the owner of the voice from steady, deep-lidded eyes. The pulse in her brown throat began to beat. One might have guessed her with entire justice a sullen lass, untutored of life, passionate, and high-spirited, resentful of all restraint. Hers was such beauty as lies in rich blood beneath dark coloring, in dusky hair and eyes, in the soft, warm contours of youth. Already she was slenderly full, an elemental daughter of Eve, primitive as one of her fur-clad ancestors.

A superb souvenir of this exotic terrain, Big Bend Vistas takes you on five journeys that begin at Panther Junction and travel to Study Butte; then on to the Chisos Basin, Santa Elena Canyon, Boquillas Canyon, and finally to Persimmon Gap. Easy to read and understand, Big Bend Vistas describes how volcanoes millions of years ago created some of the most striking scenery in Texas. The author includes vivid photographs, maps, and diagrams that explain the landscape and geology of Big Bend National Park in layman's terms. This is the third edition of Big Bend Vistas in the acclaimed "Vista" series dedicated to making Texas geology interesting for everyone.