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  The Young Railroaders

  Francis Lovell Coombs

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  While aimed at youths, this series of tales of the just-opening West makes a rollicking good story for adults, too. Three teen-age boys, trained as telegraphers, manage to get themselves in and out of a wide variety of harrowing circumstances. Using their knowledge of Morse code, the science of telegraphs, and the operation of railroads, the boys stir in native resourcefulness, quick-thinking, and when the occasion demands it, raw courage - to effect rescues, thwart thieves, and solve mysteries. If Tom Swift had lived in the nineteenth century, he could not have had more exciting escapades! (Summary by Mark F. Smith)

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  The Hard Price of Freedom

  Jason Wallace

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  The son of Juan Hernań Valdez de Araya and a Caribbean slave, Eduardo, learn that freedom always comes with a price, and that price must be paid by those most deprived of it, the most desirous to have it. Some will sacrifice their all for the sweet embrace of it and for that of those dear to them. Only those that have known true deprivation can appreciate its loving reward of ever-stripped away choice. 

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  Killing Abel

  Michael Tieman

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  Killing Abel is a work of fiction based on the first passages of the book of Genesis in the Old Testament of the Christian Bible 
   
  From "In the beginning . . ." to the Great Flood, the Bible only says about two words per year of history, for that period on earth. Not very much. From Noah to Jesus, the Bible provides us with one hundred times that amount of history to guide man. 
   
  Killing Abel takes the two words per year that God gave us, not changing a single one or changing a single context for those words, and fills in the gaps with the author's imagination. 
   
  Any foundation for a coherent worldview must start at a logical place, and there is only one choice available for where to begin, in the beginning. 
  If the underlying context is not Genesis 1:1, "In the beginning . . ." then it is a pretext. If you cannot trace your worldview back to a beginning, then what is it based on? If it has no beginning, then it has no foundation. Of all the tasks a man could face in life, the one I would least like to undertake is that of trying to deny a beginning. 
   
  Killing Abel is written with the premise that God is open to doing as He pleases. Neither you nor I can bear up against what is true in an attempt to make God out to be something that fits our own misconceptions/conceptions that are not based on God's actions. 
   
  In Killing Abel, God is depicted as a loving Father, which is not always an easy role to play, as many mortal fathers would readily admit. Being a good father is the most important, most difficult, and without exception, the most consequential obligation a man has. 
   
  In the truest sense of the word, I believe that Killing Abel is a novel interpretation of the historical events from Adam to Noah. 
   
  This is not meant to be theology―it is the fictional account of a loving Father and His children based on what little is revealed in the Bible. 
   
  Perhaps God chose not to reveal much about the first 1,700 years of man's history so that man would think more about those early days. I hope that my imagination will entice you to use yours as you read a novel view of the killing of Abel.

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  Blood in the Dust - Winner of a...

  Bill Swiggs

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  WINNER OF THE BEST UNPUBLISHED MANUSCRIPT OF THE WILBUR SMITH ADVENTURE WRITING PRIZE'Essential reading for all adventure fans. Honour and courage in the wild and unpredictable Outback.' Wilbur Smith 1853,  Victoria, Australia.  Five bushrangers led by the murderous outlaw  Warrigal Anderson raid a small homestead. When they ride away,  nineteen-year-old Toby O'Rourke's life is changed forever. His parents  lay dead at his feet and his brother, Patrick, is badly wounded.But  Toby O'Rourke is made of steel forged in the hardship of colonial life.  Forced into adulthood, he and Patrick will seek to restore the family  fortunes and outwit not only the rich businessman who conspired to rob  them of their birth right, but the vicious men who murdered their  parents . . .

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  To Name Those Lost - A Novel

  Rohan Wilson

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  A novel of a father and son in search of each other on the Australian frontier of the 1870s: “Brutal, brilliant, beautiful” (Minneapolis Star-Tribune).   It is the summer of 1874. Launceston, a colonial outpost on the southern Australian island of Tasmania, hovers on the brink of anarchy, teeming with revolutionaries, convicts, drunks, crooked cops, and poor strugglers looking for a break. Outlaw Thomas Toosey races to this dangerous bedlam to find his motherless twelve-year-old son before the city swallows the child whole, but he is pursued by more than just the law. Hindering his progress at every turn is a man to whom he owes a terrible debt: the vengeful Irishman Fitheal Flynn, whose hooded companion hides a grotesque secret . . .   Based on real events, this prize-winning novel of vengeance and redemption, set against the sweeping, merciless grandeur of the frontier, “brings to mind the prose of Cormac McCarthy, Joseph Conrad and William Faulkner [and] catapults us into the vicious, impoverished world of a colonial town in Tasmania” (Minneapolis Star-Tribune).   “Readers who admired the propulsive plotting, atmospheric sense of place, and fierce family loyalty in Patrick DeWitt’s The Sisters Brothers and Cormac McCarthy’s The Road should be equally taken with Wilson’s superb novel. Highly recommended.” —Library Journal (starred review)  Winner of the Victorian Premier’s Literary Award and the Adelaide Festival Award for Best Novel

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  Ransom

  Paul Lederer

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  When a banker’s daughter is kidnapped, it takes an evil deed to get her backTwo horsemen appear on the eastern edge of Crater, a dusty Western town as dry and barren as the sinkhole that gave it its name. The riders disappear around the back of the bank, where they find an unlocked door—and a flour sack stuffed with cash. The ransom was embezzled by the banker himself, who is ready to risk jail, to throw away his reputation, to give his life if it means getting his daughter Anita back alive. But the money won’t be enough. These kidnappers are out for blood.The banker told no one about the kidnapping, but Deputy Marshal Bill Thatcher—who loves Anita no less than her father does—quickly notices the girl’s disappearance. As the kidnapper’s demands increase, Thatcher must prove his love with violence. In a town like Crater, love is no match for a quick-drawn gun.

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