If a teller of folk tales and plotless narratives belongs in this chapter, then J. Frank Dobie should be mentioned for the folk tales in _Coronado's Children, Apache Gold and Yaqui Silver_, and _Tongues of the Monte_, also for some of his animal tales in _The Voice of the Coyote_, outlaw and maverick narratives in _The Longhorns_, and "The Pacing White Steed of the Prairies" and other horse stories in _The Mustangs_. The characters in Harvey Fergusson's _Wolf Song_ (1927) are the Mountain Men of Kit Carson's time, and the city of their soul is rollicky Taos. It is a lusty, swift song of the pristine earth. Fergusson's _The Blood of the Conquerors_ (1931) tackles the juxtaposition of Spanish-Mexican and Anglo-American elements in New Mexico, of which state he is a native. _Grant of Kingdom_ (1850) is strong in wisdom life, vitality of character, and historical values. FRED GIPSON'S _Hound-Dog Man_ and _The Home Place_ lack the critical attitude toward life present in great fiction but they are as honest and tonic as creek bottom soil and the people in them are genuine. FRANK GOODWYN'S _The Magic of Limping John_ (New York, 1944, OP) is a coherence of Mexican characters, folk tales, beliefs, and ways in the ranch country of South Texas. There is something of magic in the telling, but Frank Goodwyn has not achieved objective control over imagination or sufficiently stressed the art of writing. PAUL HORGAN of New Mexico has in _The Return of the Weed_ (short stories), _Far from Cibola_, and other fiction coped with modern life in the past-haunted New Mexico. OLIVER LAFARGE'S _Laughing Boy_ (1929) grew out of the author's ethnological knowledge of the Navajo Indians. He achieves character. TOM LEA'S _The Brave Bulls_ (1949) has, although it is a sublimation of the Mexican bullfighting world, Death and Fear of Death for its dominant theme. It may be compared in theme with Stephen Crane's _The Red Badge of Courage_. It is written with the utmost of economy, and is beautiful in its power. _The Wonderful Country_ (1952), a historical novel of the frontier, but emphatically not a "Western," recognizes more complexities of society. Its economy and directness parallel the style of Tom Lea's drawings and paintings, with which both books are illustrated. _Sundown_, by John Joseph Mathews (1934), goes more profoundly than _Laughing Boy_ into the soul of a young Indian (an Osage) and his people. Its translation of the "long, long thoughts" of the boy and then of "shades of the prison house" closing down upon him is superb writing. The "shades of the prison house" come from oil, with all of the world's coarse thumbs that go with oil. GEORGE SESSIONS PERRY'S _Hold Autumn in Your Hand_ (1941) incarnates a Texas farm hand too poor "to flag a gut-wagon," but with the good nature, dignity, and independence of the earth itself. _Walls Rise Up_ (1939) is a kind of _Crock of Gold_, both whimsical and earthy, laid on the Brazos River.