The valley of lost herds — Inside the Classic

(0 User reviews)   1129
Tuttle, W. C. (Wilbur C.), 1883-1969 Project Gutenberg 2023 Not confirmed
Western stories; Cattle stealing -- Fiction; Ranchers -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 20,815
Reading time 91 min
Text sections 2

The source record for The valley of lost herds — Inside the Classic measures this digital text at 20,815 words, 1 hr 31 min estimated reading time, and 2 detected text sections.

The text analysis averages about 12.1 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.

W. C. Tuttle's 1927 western uses clipped dialogue, precise brand names, and a saloon setting to establish a cattle baron's dominance. The prose contrasts June Meline's violin with the honkatonk's noise, while a locked-room standoff and a sudden disarmament reveal how quickly power shifts in Reber Valley.
Share
Editorial Edition Score 4.6/5

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.

Edition quality

Read the Text

There was no limit to anything. Reber owned the Tomahawk Saloon; owned nearly everything else in the town of Tomahawk, as far as that was concerned.

And with one exception he owned all of Reber Valley. It had been known as Tomahawk Valley, and was still Tomahawk Valley on the map, but to those who lived there it was Reber Valley. For Park Reber owned the M 33, Half-Wheel, Circle S, Two Bar X and the Lightning. There was really only one ranch he did not own, the S Bar P. There was another little place twenty miles south of Tomahawk which belonged to Jack Silver, who had never registered any brand. So, outside of the S Bar P, Park Reber really owned the valley.

In an area thirty miles long by about fifteen miles in width Park Reber was supreme--a real cattle baron. And Park Reber sat in his big house in Tomahawk town, all alone except for a Chinese cook, and gloated. He was _the_ big man of the country--big and lonesome. And sometimes he was mad, they said. Men worked for him, spent their money in his saloon and gambling house; but none of them admired him.

He was about sixty years of age--white-haired, harsh of feature, his deep-set eyes gloomy. Over his left eye was a white scar like a crescent moon, and he often touched it, as if it annoyed him. He drove his men hard, demanded results and got most of their wages back _via_ the green cloth.

It had taken him twenty years to become owner of the valley.

His herds, the Diamond R brand, roamed the many hills. While his ranches were all designated by their original brand names, all the stock was branded with the Diamond R. Other ranches shipped from Tomahawk, but the Diamond R was the heavy shipper. They owned the loading corrals--or rather Reber did.

Park Reber did not come often to the Tomahawk Saloon, but he had been coming oftener of late. Some said it was because of June Meline, the tall, black-haired beauty who played the violin. She was not a fiddler. There seemed a difference between June Meline and the rest of the girls of the honkatonk. Her white skin was untouched by rouge or paint and there was an imperious lift to her well shaped head. Nor did she mix with the others.

Park Reber loved music and most of all he loved the wailing notes of her violin. Often she had come to his table to talk with him. She refused drinks, but liked to discuss with him his business troubles. Some said she was trying to “rope-in” the old man, but Park Reber knew better. He admired her level-headed way of looking at things.

And on this pay night Park Reber came again, taking his usual table, where he might drink and watch the show. With him was “Slim” Patterson, foreman of the Half-Wheel ranch. Their table was near the platform, where the three-piece orchestra rattled out its tin-panny music.

The show was just at its height as they sat down. There was a burst of applause as June Meline came out carrying her violin. She was dressed in black silk, which accentuated the pallor of her skin. Only the piano played her accompaniment, and as she lifted her violin the pianist hesitated.

Some one had spoken a word aloud--the name of a man.

And there he stood, not more than six feet away from Park Reber, backed by two of his men. It was the first time Buck Priest had ever been in the Tomahawk Saloon. He was as old as Park Reber, possibly older. He wore his hair long, but his thin, evil face, with the hawk-bill nose, was smooth-shaven. He wore a silver-trimmed sombrero, buckskin shirt, gray trousers tucked in the tops of his high-heeled boots, and around his waist was a wide, beautifully carved leather cartridge belt supporting a holstered Colt.

The men with him were hard-bitted cowboys--fighting men of the S Bar P. It took nerve for Buck Priest to lead his men in among the cowboys of the Diamond R. But Buck Priest had nerve. He had fought Park Reber until Reber had told his men to leave the S Bar P alone.

At one time--over twenty years ago--these two men had been comrades.

It was evident that Buck Priest was drunk this night. He was not a drinking man, but once a year Buck Priest would get drunk; and when he got drunk, he was so cold-blooded that even his own men did not wish to associate with him.

It seemed as if every man in the room were holding his breath. Park Reber got slowly to his feet, and Priest laughed harshly.

The opening pages of The Valley of Lost Herds establish a world defined by ownership. Park Reber's name appears on nearly every ranch and business in Tomahawk, and the narrative voice treats this as simple fact: “Reber owned the Tomahawk Saloon; owned nearly everything else in the town.” The prose wastes no words on sentiment. A saloon scene introduces the setting through sound—roulette wheels, rattling chips, droning dealers—and through the contrast between June Meline, who plays violin without rouge, and the rowdy crowd. Tuttle’s diction stays concrete: brands like M 33, Half-Wheel, and Diamond R are named as markers of territory, not decoration.

Diction of Dominion

Park Reber is introduced not through action but through a catalog of possessions. The narrator lists his ranches by brand, notes that he owns the loading corrals, and observes that “outside of the S Bar P, Park Reber really owned the valley.” The repetition of “owned” and “Reber” in the opening paragraphs creates a verbal map of control. Even the valley’s name has been overwritten: “It had been known as Tomahawk Valley, and was still Tomahawk Valley on the map, but to those who lived there it was Reber Valley.” Tuttle lets the detail of the map stand as evidence of how power rewrites geography. The prose does not editorialize; it simply reports the renaming as a settled fact.

Sound and Silence in the Honkatonk

The Tomahawk Saloon is a machine of noise: “cowboys jostled each other at the long bar,” “the roulette whirred,” “voices of the dealers droned above the roar.” Against this, June Meline’s violin produces “wailing notes” that Park Reber loves. Tuttle draws a sharp line between the two soundscapes. June “did not mix with the others”; her white skin is “untouched by rouge or paint.” The description isolates her visually and aurally. When the scene shifts to the deserted cabin later in the excerpts, the quiet becomes menacing: “the half-light was baffling,” “queer noises,” and windows that “seemed to stare at her like a pair of eyes.” The contrast between the saloon’s din and the cabin’s silence reinforces the vulnerability of characters outside Reber’s domain.

Dialogue as Power Play

Tuttle’s dialogue is economical and often deceptive. When McLeese and Chuck Bell enter the cabin, their speech is casual: “Yuh got here, eh?” and “That’s fine.” But the politeness is a cover. Bell’s sudden grab for the gun is described in a single sentence: “As quick as a flash Bell jerked sidewise out of his chair and secured the gun.” No internal monologue, no warning. The dialogue afterward shifts to commands: “Get a rope, Bell.” McLeese’s line “That’s better than knockin’ her on the head” reveals the threat beneath the calm. June’s own speech is guarded—she “didn’t want to tell McLeese anything”—but the narrative never gives her a successful countermove. The power dynamic is established entirely through what is said and what is left unsaid.

Restraint in Description

Tuttle avoids florid description even in tense moments. When June is tied and gagged, the prose records only the physical actions: “McLeese twisted the handkerchief.” The emotional weight is carried by the objects—the dirty bandanna, the rope, the gun on the table. Earlier, Reber’s scar is noted with clinical precision: “a white scar like a crescent moon” that he “often touched, as if it annoyed him.” The simile is the only flourish; the rest is report. This restraint extends to the setting. The cabin is “fairly clean,” the kitchen has “plenty of food,” but no adjectives are wasted. The effect is a narrative that trusts readers to infer danger from the accumulation of concrete details rather than from authorial commentary.

The excerpts offer a western built on economic control and verbal economy. Tuttle’s choices in diction—the repeated brand names, the flat declarative sentences, the dialogue that conceals as much as it reveals—create a world where ownership is the only stable fact. Readers attentive to how power is signaled through naming, sound, and silence will find the story’s tensions already mapped in its first pages.

Reading about that saloon standoff, I remembered evenings at my grandfather's ranch, the quiet before a hand moved a card. That same tension lives in The rasp — Story, Setting & Ideas, where a single tool's sound shifts a whole room's mood. Both books let a place breathe, and I felt that familiar hush again.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

Have you finished this book?

2

How much did you enjoy the reading experience?

3

Would you encourage someone else to read it?

4

Did the language feel accessible?

Related eBooks