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摘要
摘要
From the early 1800s to the end of his life in 1917, Buffalo Bill Cody was as famous as anyone could be. Annie Oakley was his most celebrated protegee, the "slip of a girl" from Ohio who could (and did) outshoot anybody to become the most celebrated starof Buffalo Bill's Wild West Show.
In this sweeping dual biography, Larry McMurtry explores the lives, the legends, and above all the truth about two larger-than-life American figures. With his Wild West show, Buffalo Bill helped invent the image of the West that still exists today-cowboys and Indians, rodeo, rough rides, sheriffs and outlaws, trick shooting, Stetsons, and buck-skin. The short, slight Annie Oakley-born Phoebe Ann Moses -spent sixteen years with Buffalo Bill's Wild West, where she entertained Queen Victoria, Emperor Franz Joseph of Austria, and Kaiser Wilhelm II, among others. Beloved by all who knew her, including Hunkpapa leader, Sitting Bull, Oakley became a legend in her own right and after her death, achieved a new lease of fame in Irving Berlin's musical Annie, Get Your Gun.
To each other, they were always "Missie" and "Colonel" To the rest of the world, they were cultural icons, setting the path for all that followed. Larry McMurtry-a writer who understands the West better than any other-recreates their astonishing careers and curious friendship in a fascinating history that reads like the very best of his fiction.
评论 (5)
出版社周刊评论
As is McMurtry's wont in works of nonfiction (e.g., Crazy Horse), this dual bio reads more like an extended elegy than biography. Buffalo Bill Cody and Annie Oakley, the demigods of western mythology, hold particular personal appeal for McMurtry. In a diner in his hometown of Archer City, Tex., McMurtry writes, "[T]here is a Cody poster that I sometimes study if I happen to land in the right booth," and as a child he heard his uncles recollect having seen Cody perform. This personal attachment doesn't obscure the quality of McMurtry's observations, and the book's aim, to separate fact from folklore, is beautifully accomplished. The Wild West show-and all of its mytho-historical components, such as riding the Pony Express, hunting bison, killing Tall Bull, scalping Yellow Hair-both distorted and magnified western heritage to a level of fantasy that captivates readers, including McMurtry, to this day. He smartly analyzes Cody's genius for PR, evidenced in such tactics as continually announcing that his next tour would be his last and seeing that cowboys' informal roping competitions could be turned into money-making rodeo shows. It's jarring when McMurtry tries to explicate Cody and Oakley's unprecedented fame by comparing them to today's pop stars, as in analogizing Annie Oakley's prima donna stage behavior to that of Martha Stewart and Courtney Love. Regardless, this book's a delight. 16 pages of b&w photos not seen by PW. Agent, Andrew Wylie. (June 7) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus评论
A slapdash, repetitious but nonetheless compelling look at two phenoms of the late-19th-century, by Mr. Wild West himself. McMurtry (Loop Group, 2004, etc.) knows his territory, and though he takes some time here working up a thesis separating Buffalo Bill Cody's and Annie Oakley's legends from the facts, the author of the Pulitzer-winning Lonesome Dove is ever fascinating and knowledgeable. He does not purport to give a biography of Cody, who grew up in "bleeding" Kansas and worked briefly as a Pony Express guide, Army scout and buffalo hunter before embarking on a 30-year show-biz career that ended with his death in 1917. But the facts of Cody's romantic story keep pulling him in, especially the "tropes," as McMurtry calls the legendary set pieces by which Cody defined himself. These included his first killing of an Indian when he was 11 and his scalping of Yellow Hair in 1876. Cody's scouting for the Army allows McMurtry free reign on the subtleties of the Indian Wars, a subject he evidently relishes. Having distinguished the facts of Cody's glamorous life (fodder for something like 1,700 dime novels), McMurtry moves into his work as a showman. By 1882, Cody had organized some of the first rodeos and hired Indians to help stage such dramatic mock-historical scenes as the attack on the Deadwood stage and battles between settlers and Indians. One of his most successful acts was sharpshooter Annie Oakley, a poor girl from Ohio who made an honorable living by her gun and was the first woman to be admitted to British shooting clubs. McMurtry explores Oakley's own "creation myth," involving the shooting of a squirrel on a fence with her father's too-big rifle when she was a girl: "She always claimed that it was one of the better shots she ever made." No spectacular or sexy revelations here, just a curious excursus into Cody's successful performance for "Grandmother England" during the troupe's 1887 tour for Victoria's Jubilee. All in all, earnestly winning, old-fashioned storytelling. Copyright ©Kirkus Reviews, used with permission.
《书目》(Booklist)书评
In his novels and monographs, one of McMurtry's recurring themes is the contrast between the reality and the myth of the West. In this compact and enthralling dual biography, McMurtry beautifully illustrates that gap, while demonstrating how one evolves into the other. He obviously has great admiration, even affection, for these icons, but he doesn't refrain from pointing out their less attractive traits. McMurtry traces Buffalo Bill Cody's career from his wild youth to his days as a scout and Indian fighter to his career as a great showman on his Wild West tours. Strikingly handsome, generous to a fault, and prone to the temptations of women and drink, Cody was genuinely loved by friends and even by his business rivals. In many ways, Oakley, who flourished as Cody's star attraction, was his opposite. Unlike Cody, this Ohio-raised slip of a girl had no personal experience of the frontier. She was quiet, reserved, and frugal and avoided scandal in her domestic life. Both she and Cody did share remarkable gifts for self-promotion and showmanship. This is a fine story of Americana that will appeal to both general readers and aficionados of western legend and lore; expect demand based on the author's name recognition. --Jay Freeman Copyright 2005 Booklist
Choice 评论
Successful novelist and screenwriter Larry McMurtry has created a fascinating account of William F. Cody (Buffalo Bill) and Annie Oakley, both charismatic performers, as the first US superstars. Cody (1846-1917) moved between the receding Western frontier--he was a scout, an Indian fighter, and a buffalo hunter--and his re-creation of it in his Wild West shows. He became beloved in the US and in Europe; Queen Victoria came out of mourning to attend the show. Oakley (1860-1926), who shot small animals to support her family, brought her remarkable skills to Cody's Wild West show. The development of rail travel, which allowed circuses to become giant traveling extravaganzas, also allowed Wild West shows to prosper. Readers will not be surprised to learn that James Bailey, P.T. Barnum's partner in the Barnum and Bailey circus, was an early manager of the Buffalo Bill Show. Buffalo Bill's death and the end of the Wild West shows coincided with the emergence of new media and with WW I, which turned US eyes away from the West and toward Europe. Including photographs and brief bibliographical references, this book will be a worthy addition to any collection supporting performance studies and leisure studies. ^BSumming Up: Highly recommended. All readers; all collections. R. Sugarman emeritus, Southern Vermont College
《图书馆杂志》(Library Journal )书评
Who better than McMurtry to explain how Buffalo Bill and Annie Oakley became America's first major celebrities. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.