Oh, You Tex! — Reading Notes
Edition facts
For Oh, You Tex! — Reading Notes, the stored edition analysis reports 77,127 words, 5 hr 36 min estimated reading time, and 10 detected text sections.
The text analysis averages about 11.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Western stories,” connecting these edition facts with the source record’s subject description.
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How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Day was breaking in the Panhandle. The line-rider finished his breakfast of buffalo-hump, coffee, and biscuits. He had eaten heartily, for it would be long after sunset before he touched food again.
Cheerfully and tunelessly he warbled a cowboy ditty as he packed his supplies and prepared to go.
"Oh, it's bacon and beans most every day, I'd as lief be eatin' prairie hay."
While he washed his dishes in the fine sand and rinsed them in the current of the creek he announced jocundly to a young world glad with spring:
"I'll sell my outfit soon as I can, Won't punch cattle for no damn' man."
The tin cup beat time against the tin plate to accompany a kind of shuffling dance. Jack Roberts was fifty miles from nowhere, alone on the desert, but the warm blood of youth set his feet to moving. Why should he not dance? He was one and twenty, stood five feet eleven in his socks, and weighed one hundred and seventy pounds of bone, sinew, and well-packed muscle. A son of blue skies and wide, wind-swept spaces, he had never been ill in his life. Wherefore the sun-kissed world looked good to him.
He mounted a horse picketed near the camp and rode out to a _remuda_ of seven cow-ponies grazing in a draw. Of these he roped one and brought it back to camp, where he saddled it with deft swiftness.
The line-rider swung to the saddle and put his pony at a jog-trot. He topped a hill and looked across the sunlit mesas which rolled in long swells far as the eye could see. The desert flowered gayly with the purple, pink, and scarlet blossoms of the cacti and with the white, lilylike buds of the Spanish bayonet. The yucca and the prickly pear were abloom. He swept the panorama with trained eyes. In the distance a little bunch of antelope was moving down to water in single file. On a slope two miles away grazed a small herd of buffalo. No sign of human habitation was written on that vast solitude of space.
The cowboy swung to the south and held a steady road gait. With an almost uncanny accuracy he recognized all signs that had to do with cattle. Though cows, half hidden in the brush, melted into the color of the hillside, he picked them out unerringly. Brands, at a distance so great that a tenderfoot could have made of them only a blur, were plain as a primer to him.
Cows that carried on their flanks the A T O, he turned and started northward. As he returned, he would gather up these strays and drive them back to their own range. For in those days, before the barbed wire had reached Texas and crisscrossed it with boundary lines, the cowboy was a fence more mobile than the wandering stock.
It was past noon when Roberts dropped into a draw where an immense man was lying sprawled under a bush. The recumbent man was a mountain of flesh; how he ever climbed to a saddle was a miracle; how a little cow-pony carried him was another. Yet there was no better line-rider in the Panhandle than Jumbo Wilkins.
"'Lo, Texas," the fat man greeted.
The young line-rider had won the nickname of "Texas" in New Mexico a year or two before by his aggressive championship of his native State. Somehow the sobriquet had clung to him even after his return to the Panhandle.
"'Lo, Jumbo," returned the other. "How?"
"Fat like a match. I'm sure losin' flesh. Took up another notch in my belt yestiddy."
Roberts shifted in the saddle, resting his weight on the horn and the ball of one foot for ease. He was a slim, brown youth, hard as nails and tough as whipcord. His eyes were quick and wary. In spite of the imps of mischief that just now lighted them, one got an impression of strength. He might or might not be, in the phrase of the country, a "bad _hombre_," but it was safe to say he was an efficient one.
"Quick consumption, sure," pronounced the younger man promptly. "You don't look to me like you weigh an ounce over three hundred an' fifty pounds. Appetite kind o' gone?"
"You're damn whistlin'. I got an ailment, I tell you, Tex. This mo'nin' I didn't eat but a few slices of bacon an' some lil' steaks an' a pan or two o' flapjacks an' mebbe nine or ten biscuits. Afterward I felt kind o' bloated like. I need some sa'saparilla. Now, if I could make out to get off for a few days--"
"You could get that sarsaparilla across the bar at the Bird Cage, couldn't you, Jumbo?" the boy grinned.
The opening chapter of Oh, You Tex! introduces Jack Roberts, a line-rider who sings cowboy ditties while washing dishes in a creek, fifty miles from nowhere. The tone is jaunty: he dances alone, announces he is “one and twenty,” and recites verses about bacon and beans. This solitary cheerfulness sets up a world where danger—Kiowa attacks, wounded men, moral tests—arrives without warning. The excerpts shift from that lighthearted start to tense scenes of rescue and confession, suggesting the novel balances action with interior conflict.
Cowboy Songs and Solitary Work
The line-rider’s morning routine is described in precise, unromantic detail: he eats buffalo-hump, coffee, and biscuits; washes his dishes in sand and creek water; and sings a tuneless ditty. The lyrics quoted—“I’ll sell my outfit soon as I can, / Won’t punch cattle for no damn’ man”—are not mere decoration. They establish a voice that is both rebellious and self-mocking. The catalog subject “Western stories” is here embodied not in a shootout but in the mundane labor of a man alone on the desert. The text emphasizes his physical measurements (five feet eleven, one hundred seventy pounds) as if to ground his character in bodily fact. This opening resists the mythic cowboy; it shows a worker who dances because he is young and isolated.
Rescue and the Weight of Choice
Later excerpts center on Arthur Ridley, an Easterner who stays with a wounded man named Dinsmore during a Kiowa attack. The rescue party arrives with “Yip-yip, yippy-yip-yip” calls, and the wounded man is strapped to a horse and guided across a river. But the action is undercut by Ridley’s confession to Ramona: “I wanted to slip away and leave him. … I hadn’t the nerve to go, so I stayed.” This admission—that he stayed out of fear, not courage—complicates the heroism. Ramona rejects his self-assessment, arguing that actions matter more than intentions. The scene uses dialogue to explore shame and reputation, a theme that the catalog’s “Western stories” label might not predict. The rescue is real, but the moral calculus is ambiguous.
Voice and Self-Presentation
Raine’s characters are acutely aware of how they are seen. Jack Roberts is introduced through his song and dance, a performance of cowboy identity. Ridley, by contrast, insists on revealing his cowardice to Ramona: “I can’t have you thinking me game when I know I’m not.” The novel’s dialogue is marked by blunt self-disclosure and the pressure to prove oneself. Even the minor character Jumbo Wilkins speaks in a colloquial register (“Fine and dandy!”). The catalog’s “Texas” setting is rendered through specific place names (Tascosa, the Panhandle) and details like the buckboard and the longhorn drives mentioned in the dedication. But the excerpts suggest the real terrain is psychological: the gap between public bravery and private doubt.
Readers approaching Oh, You Tex! should attend to the moments when characters speak against their own interests. The novel’s action—Kiowa raids, river crossings, shootouts—is framed by conversations in which men and women argue about what courage means. The catalog subjects of Texas and the frontier are present, but the excerpts point to a story more interested in the stories characters tell about themselves.
That line-rider’s quiet cheerfulness in Oh, You Tex! reminded me of my own long afternoons—and of a certain stubborn hopefulness in another tale. In Blue Creek Cañon — Key Ideas to Explore carries that same hush, that sense of a person listening to the land and their own doubts, without needing to speak.
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