The Boy Ranchers Among the Indians; Or, Trailing the Yaquis

THE BOY RANCHERS

AMONG THE INDIANS

OR

Trailing The Yaquis

By

WILLARD F. BAKER

Copyright © 2016 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

The History of Western Fiction

CHAPTER I - COMPANY COMING

CHAPTER II - THE TELEGRAM

CHAPTER III - GET HEADY, BOYS!

CHAPTER IV - ON THE TRAIL

CHAPTER V - ROSEMARY AND FLOYD

CHAPTER VI - PRISONERS

CHAPTER VII - INTO THE MOUNTAINS

CHAPTER VIII - SHOOTING STARS

CHAPTER IX - A LONE INDIAN

CHAPTER X - SHOTS FROM AMBUSH

CHAPTER XI - THE SURPRISE

CHAPTER XII - FORWARD AGAIN

CHAPTER XIII - WEARY CAPTIVES

CHAPTER XIV - SURROUNDED

CHAPTER XV - WITH THE TROOPERS

CHAPTER XVI - INDIAN SIGN

CHAPTER XVII - AN ALARM

CHAPTER XVIII - SEPARATED

CHAPTER XIX - THE FIGHT

CHAPTER XX - THE WHITE FLAG

CHAPTER XXI - THE TRICK DISCOVERED

CHAPTER XXII - ANXIOUS HOURS

CHAPTER XXIII - THE LAST STAND

CHAPTER XXIV - THE RUSE OF ROSEMARY

CHAPTER XXV - ALL’S WELL!

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 I

COMPANY COMING

High and clear the sweet, western wind brought over the rolling hills the sound of singing. At least it was singing of a sort, for there was a certain swing and rhythm accompanying the words. As the melody floated toward them, three young cowboys, seated at ease in their saddles, looked up and in the direction of the singer.

Thus the song.

  Oh, bury me out on th’ lonesome prairie!   Put a stone under my haid!   Cover me up with a rope an’ a saddle!   ‘Cause why? My true-love is daid * * * * * *

It is impossible in cold print to indicate the mournful and long-drawn-out accent on the word dead, to rhyme with head.

Here comes Slim! exclaimed one of the youthful cow punchers to his companions.

As if we didn’t know that, Dick! laughed the slighter of two lads who, from their close resemblance, could be nothing less than brothers.

His voice doesn’t improve with age; does it, Nort? asked Bud Merkel, smiling at his cousins, Norton and Richard Shannon.

But he means well, declared Nort with a chuckle. Oh, you Slim! he shouted, as a tall lanky individual, mounted on a pony of like proportions, ambled into view, topping a slight rise of the trail. Oh, you Slim!

The older cowboy—a man, to be exact—who had been about to break forth into the second, or forty-second verse of his song (there being in all seventy-two stanzas, so it doesn’t much matter which one is designated)—the older cowboy, I say, paused with his mouth open, and a blank look on his face. Then he grinned—that is the only word for it—and cried:

Well, I’m a second cousin to a ham sandwich! Where’d you fellows come from?

We haven’t come—we’re just going! laughed Bud. We’re going over to see Dad and the folks. How are they all?

Oh, they’re sittin’ pretty! Sittin’ pretty! affirmed Slim Degnan, with a mingled smile and grin. How’d you fellows come out with your spring round-up?

Pretty fair, admitted Bud. A few steers short of what we figured on, but that’s nothing.

I should say not! chuckled Slim. Your paw was a heap sight worse off’n that.

Rustlers again? asked Nort quickly, as he and his brother glanced at one another. They had not forgotten the stirring times when they were on the trail of the ruthless men who had raided Diamond X ranch, and their own cattle range.

No, nothin’ like that, answered Slim easily. Just natural depravity, so to speak. Some of ‘em ate loco weed and others jest got too tired of livin’ I reckon. But we come out pretty fair. Just got th’ last bunch shipped, an’ I’m mighty glad of it.

Same here! spoke Dick. That’s why we came over here—on a sort of vacation.

I reckon some other folks is headin’ this way on th’ same sort of ideas, remarked Slim Degnan, as he rolled a cigarette with one hand, a trick for which the boys had no use, though they could but admire the skill of the foreman.

What do you mean? asked Bud. Is Dad going to take a vacation? If he does—

Don’t worry, son! Don’t worry! laughed Slim, as he ignited a match by the simple process of scratching the head with his thumb nail. Cattle will have to fetch a heap sight more’n they do now when he takes a few days off, declared the foreman. What I meant was that some tenderfeet individuals are headin’—

Slim did not finish the sentence for he was nearly thrown from his saddle (something most unusual with him) as his pony gave a sudden leap to one side, following a peculiar noise in a bunch of grass on which the animal almost stepped.

The noise was not unlike that made by a locust in a tree on a hot day, but there was in the vibrations a more sinister sound. And well did Slim’s horse know what it indicated.

A rattler! yelled Bud, and close on the heels of his words followed action.

He whipped out his .45, there was a sliver of flame, a sharp crack at which the three steeds of the trio of youthful cowboys jumped slightly, and there writhed on the trail a venomous rattle-snake, its head now a shapeless mass where the bullet from Bud’s gun had almost obliterated it.

Whew! A big one! exclaimed Slim, who had quickly gotten his pony under control again, and turned it back toward the scene of action. It spoke well