Wyoming: A Story of the Outdoor West — Edition Insights

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Raine, William MacLeod, 1871-1954 Project Gutenberg 1999 Not confirmed
Western stories; Wyoming -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 76,959
Reading time 335 min
Text sections 25

The catalog record for Wyoming: A Story of the Outdoor West — Edition Insights provides practical reading context through 76,959 words, 5 hr 35 min estimated reading time, and 25 detected text sections.

The text analysis averages about 14.2 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.

An editorial note on William MacLeod Raine's Wyoming, focusing on its narrative voice, pacing, and the contrast between serene landscape descriptions and sudden violent action, as seen in the opening desert meeting and later rescue scenes.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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.

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CHAPTER I. A DESERT MEETING CHAPTER II. THE KING OF THE BIG HORN COUNTRY CHAPTER III. AN INVITATION GIVEN AND ACCEPTED CHAPTER IV. AT THE LAZY D RANCH CHAPTER V. THE DANCE AT FRASER’S CHAPTER VI. A PARTY CALL CHAPTER VII. THE MAN FROM THE SHOSHONE FASTNESSES CHAPTER VIII. IN THE LAZY D HOSPITAL CHAPTER IX. MISS DARLING ARRIVES CHAPTER X. A SHEPHERD OF THE DESERT CHAPTER XI. A RESCUE CHAPTER XII. MISTRESS AND MAID CHAPTER XIII. THE TWO COUSINS CHAPTER XIV. FOR THE WORLD’S CHAMPIONSHIP CHAPTER XV. JUDD MORGAN PASSES CHAPTER XVI. HUNTING BIG GAME CHAPTER XVII. RUN TO EARTH CHAPTER XVIII. PLAYING FOR TIME CHAPTER XIX. WEST POINT TO THE RESCUE CHAPTER XX. TWO CASES OF DISCIPLINE CHAPTER XXI. THE SIGNAL LIGHTS CHAPTER XXII. EXIT THE “KING” CHAPTER XXIII. JOURNEYS END IN LOVERS’ MEETING

CHAPTER I. A DESERT MEETING

An automobile shot out from a gash in the hills and slipped swiftly down to the butte. Here it came to a halt on the white, dusty road, while its occupant gazed with eager, unsated eyes on the great panorama that stretched before her. The earth rolled in waves like a mighty sea to the distant horizon line. From a wonderful blue sky poured down upon the land a bath of sunbeat. The air was like wine, pure and strong, and above the desert swam the rare, untempered light of Wyoming. Surely here was a peace primeval, a silence unbroken since the birth of creation.

It was all new to her, and wonderfully exhilarating. The infinite roll of plain, the distant shining mountains, the multitudinous voices of the desert drowned in a sunlit sea of space—they were all details of the situation that ministered to a large serenity.

And while she breathed deeply the satisfaction of it, an exploding rifle echo shattered the stillness. With excited sputtering came the prompt answer of a fusillade. She was new to the West; but some instinct stronger than reason told the girl that here was no playful puncher shooting up the scenery to ventilate his exuberance. Her imagination conceived something more deadly; a sinister picture of men pumping lead in a grim, close-lipped silence; a lusty plainsman, with murder in his heart, crumpling into a lifeless heap, while the thin smoke-spiral curled from his hot rifle.

So the girl imagined the scene as she ran swiftly forward through the pines to the edge of the butte bluff whence she might look down upon the coulée that nestled against it. Nor had she greatly erred, for her first sweeping glance showed her the thing she had dreaded.

In a semicircle, well back from the foot of the butte, half a dozen men crouched in the cover of the sage-brush and a scattered group of cottonwoods. They were perhaps fifty yards apart, and the attention of all of them was focused on a spot directly beneath her. Even as she looked, in that first swift moment of apprehension, a spurt of smoke came from one of the rifles and was flung back from the forked pine at the bottom of the mesa. She saw him then, kneeling behind his insufficient shelter, a trapped man making his last stand.

From where she stood the girl distinguished him very clearly, and under the field-glasses that she turned on him the details leaped to life. Tall, strong, slender, with the lean, clean build of a greyhound, he seemed as wary and alert as a panther. The broad, soft hat, the scarlet handkerchief loosely knotted about his throat, the gray shirt, spurs and overalls, proclaimed him a stockman, just as his dead horse at the entrance to the coulée told of an accidental meeting in the desert and a hurried run for cover.

That he had no chance was quite plain, but no plainer than the cool vigilance with which he proposed to make them pay. Even in the matter of defense he was worse off than they were, but he knew how to make the most of what he had; knew how to avail himself of every inch of sagebrush that helped to render him indistinct to their eyes.

One of the attackers, eager for a clearer shot, exposed himself a trifle too far in taking aim. Without any loss of time in sighting, swift as a lightning-flash, the rifle behind the forked pine spoke. That the bullet reached its mark she saw with a gasp of dismay. For the man suddenly huddled down and rolled over on his side.

From its first sentence, Wyoming: A Story of the Outdoor West establishes a rhythm of contrast. The opening chapter, “A Desert Meeting,” moves from a panoramic, almost painterly description of the landscape—"the earth rolled in waves like a mighty sea"—to the abrupt crack of rifle fire. This shift from stillness to violence recurs throughout the excerpts, suggesting a narrative voice that deliberately juxtaposes the primeval peace of the Wyoming setting with the sudden, close-lipped brutality of its human conflicts.

Voice and Dialogue as Character Markers

The dialogue in the excerpts does more than advance the plot; it distinguishes characters through speech patterns. Helen’s language is formal and emotionally charged—she calls a man “wholly incapable of gratitude” and “entirely lacking in all the elements that go to distinguish a human being from a wolf.” In contrast, the foreman Mac McWilliams speaks in a laconic, colloquial register: “I had other thoughts,” “plumb glad to my gizzard.” The villain Bannister is given a “pleasant drawl” that masks his menace. Raine uses these vocal signatures to create immediate, recognizable personalities without lengthy exposition.

Pacing Through Action and Restraint

The narrative alternates between breathless action and deliberate, almost static description. The opening shootout is rendered in short, clipped sentences: “a spurt of smoke came from one of the rifles.” Later, a rescue scene unfolds with tense, step-by-step detail—the quiet voice cautioning “Don’t move, seh,” the unbuckling of a belt. Yet these moments are framed by longer passages of landscape or quiet conversation, such as the “hazy violet outline of the mountains” at dusk. This ebb and flow gives the reader space to absorb the violence, making each eruption of conflict more startling.

The Landscape as a Silent Participant

Raine’s Wyoming is not merely a backdrop but an active presence that shapes the story’s mood. The opening describes “a peace primeval, a silence unbroken since the birth of creation,” only to have that silence shattered by gunfire. Later, the “call of the quails” and the “hazy violet outline of the mountains” provide a deceptive calm before another confrontation. The desert is described as having “multitudinous voices” drowned in a “sunlit sea of space,” suggesting a world that is both vast and intimate. This treatment of setting reinforces the theme of human vulnerability within an indifferent, beautiful wilderness.

Readers attentive to language will find that Raine’s prose rewards close attention to its shifts in register and tempo. The novel’s power lies not in plot surprises but in the way it orchestrates silence and sound, stillness and motion. As you read, note how the author uses the landscape to frame each scene, and how the characters’ voices—whether clipped or elaborate—reveal their moral positions.

The desert’s stillness in Wyoming reminded me of evenings I once spent on a porch, the quiet so thick I could hear my own thoughts. Then the gunfire came, and I felt that same skin-prickling jolt I got reading Jerry of the Islands — A Closer Reading. Both books hold their breath before they leap.

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