O. E. Rølvaag, Preface by Colin Heston.

The struggle of the immigrant is often told through the lens of triumph—of cities built and fortunes made—but in O. E. Rølvaag’s Giants in the Earth, we are invited into a far more intimate and devastating arena: the psychological and spiritual cost of taming a wilderness. First published in Norwegian in 1924 as I de dage and later meticulously translated into English by Lincoln Colcord in collaboration with the author, this novel remains the definitive epic of the American prairie. It is not merely a story of farming; it is a saga of the human psyche stretched to its breaking point against an indifferent landscape.
At the heart of the narrative lies a profound dichotomy between the two protagonists, Per Hansa and Beret. Per Hansa embodies the archetype of the pioneer, fueled by a restless, creative energy that views the desolate plains of South Dakota not as a wasteland, but as a kingdom waiting to be claimed. To him, the "Giants" are physical obstacles to be conquered through grit and vision. Conversely, Beret represents the tragic reality of displacement. She is haunted by the Great Plain, a space so vast and empty that she feels God cannot find her there. For Beret, the "Giants" are the invisible, malevolent forces of the Earth itself, punishing those who dare to disturb its ancient, heavy silence.
The English version of Giants in the Earth is a rare literary achievement born of a unique partnership. Lincoln Colcord, a writer of the sea, found a common language with Rølvaag, a writer of the "sea of grass." Their collaboration ensured that the stark, rhythmic beauty of Rølvaag’s Norwegian—steeped in biblical cadence and Old World folklore—was preserved for an English-speaking audience. Colcord understood that the oceanic quality of the prairie was more than a metaphor; it was a physical reality where the winds howling across the Dakota territory carried the same weight and terror as a North Atlantic gale.
Rølvaag does not romanticize the pioneer experience. He documents the relentless succession of plagues—locusts, blizzards, and the suffocating loneliness of the sod house—forcing the reader to confront the sobering question of what is lost when a culture uproots itself. While Per Hansa builds the physical foundations of a new nation, Beret bears the burden of the cultural and emotional cost. Her descent into religious melancholy serves as a poignant reminder that while the land may be conquered, the soul is often the casualty of that conquest. She famously remarks that the Great Plain drinks the blood of Christian men and is never satisfied.
Nearly a century since its translation, Giants in the Earth stands as a pillar of American literature because it refuses to offer easy answers. It is a masterpiece of realism and a haunting work of the imagination that captures the birth of a modern identity forged in a crucible of isolation. As you turn these pages, you are witnessing a history that is as much about the internal landscape of the mind as it is about the external map of the frontier.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2026. 373p.

By Arthur Train. Introduction by Graeme R. Newman

The transition of the American legal system from the rough-and-tumble nineteenth century into the more structured, investigative era of the early twentieth century is nowhere more vividly captured than in Arthur Train’s True Stories of Crime from the District Attorney’s Office. As an Assistant District Attorney for New York County during a period of rapid urbanization and social upheaval, Train occupied a unique vantage point that allowed him to witness the collision of old-world criminal archetypes with the emerging complexities of modern life. This collection of narratives serves as a clinical yet deeply compelling autopsy of the era’s most notorious legal battles, offering readers a rare glimpse into the machinery of justice at a time when forensic science was in its infancy and the power of the prosecutor’s office was expanding into new, uncharted territories.

Train’s work is particularly significant for its early exploration of what would eventually be termed white-collar crime. While the public imagination of 1908 was often captured by tales of blunt violence and physical daring, Train directs his focus toward the "super-criminal"—the manipulative mastermind who utilized the administrative and financial structures of the city as their primary tools of exploitation. Through these accounts, we see the emergence of a new kind of threat that required a equally sophisticated response from the legal establishment. Train describes a landscape where economic desperation and social isolation were the primary drivers of criminal behavior, yet he also highlights the systemic vulnerabilities that allowed institutional fraud to flourish. By documenting these cases, he provides a foundation for the study of victimology, illustrating how the legal system often struggled to keep pace with the evolving ingenuity of those who sought to undermine it.

Beyond their historical and legal value, these stories possess a narrative vitality that reflects the tension between the sensationalism of early tabloid journalism and the rigorous demands of the courtroom. Train’s prose is informed by his experiences on the front lines of the District Attorney’s office, where the outcome of a trial often hinged as much on rhetorical flair and personal intuition as it did on physical evidence. In revisiting these cases today, we are invited to consider the persistent challenges of defining and delivering justice within a complex bureaucracy. Train does not shy away from the moral ambiguities of his profession, and his reflections on the nature of guilt and the limitations of the law remain strikingly relevant. This volume stands not only as a record of forgotten crimes but as an enduring meditation on the social fabric of a metropolis in flux, capturing the moment when the modern era of criminal justice truly began.

Read-Me.Org Inc. 2026. 184p.

BY G. Frank Lydston. Preface by Colin Heston

The wind howls across the desolate plains of the Old West, not with the romantic whistle of a ballad, but with the coarse, biting grit of reality. In the flickering shadows of a kerosene lamp, silhouettes gather around a scarred felt table, their faces etched with the histories of desperate gambles and hard-won wisdom. This is the world of G. Frank Lydston—a world where the line between the hero and the rogue is as thin as a worn playing card and twice as fragile.

In his seminal collection, Poker Jim, Gentleman, and Other Tales and Sketches, Lydston does more than recount anecdotes; he performs a literary autopsy on the American frontier. As a physician and a keen observer of human nature, he brought a surgical precision to his storytelling, looking past the polished myths of the "Wild West" to reveal the raw, pulsing nerves of the men and women who inhabited it. He understood that the wilderness was not merely a location, but a crucible that burned away the pretenses of civilization to reveal the true metal of the soul.

The titular character, Poker Jim, serves as the ultimate paradox of this untamed wilderness. He is a man who thrives in the so-called dens of iniquity, yet he carries himself with a code of ethics more rigid and unwavering than many of the city judges who would seek to condemn him. Through Jim and a cast of vibrant, often tragic figures, Lydston explores the profound duality of man, demonstrating how a gambler can possess the heart of a saint while a self-proclaimed gentleman might harbor the soul of a thief. To Lydston, the environment was never just a backdrop; it was a character in its own right—one that tested, broke, and occasionally redeemed the human spirit.

Lydston’s prose is a unique blend of Victorian elegance and frontier ruggedness, capturing the rough dialect of the mining camp and the sophisticated musings of the scholar with equal fervor. This collection stands as a testament to an era that was rapidly vanishing even as he wrote—a transition from lawless expansion to the paved certainty of the modern age. As you turn these pages, you step into smoke-filled saloons and silent, starlit canyons to witness the birth of a national identity forged in the fires of chance. You are invited to learn the philosophy of the hand: that life, much like the game itself, is rarely about the cards you are dealt, but the courage with which you play them.

Monarch Book Co., Chicago, 1906. Read-Me.Org Inc. New York-Philadelphia-Australia. 2026. p.233.

By Colin Heston (Author), James Tucker (Author), Ralph Rashleigh (Contributor)

This compelling narrative offers a vivid portrayal of the convict experience in early colonial Australia. The book, first published in 1929, is attributed to James Tucker, who wrote under the pseudonym Ralph Rashleigh. This introduction by Colin Heston aims to provide an overview of the book’s themes, historical context, and its significance in Australian literature. The story is set during a tumultuous period in Australian history when the continent was used as a penal colony by the British Empire. From 1788 to 1868, over 160,000 convicts were transported to Australia, fundamentally shaping the social and cultural landscape of the emerging nation. “Adventures of an Outlaw” provides a firsthand account of this era, detailing the harsh realities faced by convicts and the brutal conditions of the penal system. James Tucker, the presumed author, was himself a convict transported to Australia for forgery. His experiences and observations lend authenticity to the narrative, making it a valuable historical document. The book offers insights into the daily lives of convicts, their interactions with authorities, and their struggles for survival and dignity in an unforgiving environment. This abridged edition simplifies the narrative and corrects the many quaint spellings and expressions while keeping the essential facts and challenging experiences that challenged Rasjleigh's resilience and determination to find freedom.

First published in 1929 by Jonathan Cape and Harrison Smith1. The memoir, attributed to the pseudonym Ralph Rashleigh, is actually the work of James Rosenberg Tucker. This abridged edition Read-Me.Org Inc. 2025. 105p.

USED BOOK. MAY CONTAIN MARK-UP

By Billy Hayes with William Hoffer

FROM CHAPTER 1: “Some twelve miles west of Istanbul, beyond the outskirts of the city in the flat farm country near the coast, is Yesilkoy International Airport. Every day at noon Pan American Flight No. 1 arrives from Teheran. It sorts out its incoming and outgoing passengers, then takes off again at one to continue its journey to Frankfort, London, and New York. On October 6, 1970, feeling like an Ian Fleming character, with dark aviator sunglasses over my eyes and my trenchcoat collar pulled up to my ears, I watched Flight No. 1, a Boeing 707, land on the concrete runway. I pulled the brim of my lucky hat low over my eyes and eased up against the wall near the passenger check-in counter. A short pudgy man in his mid-thirties pushed past me…..”

NY. E. P. Dutton & Co., Inc. 1977. 285p.

By Charles Dickens

From the Preface: “The late Mr Waterton having, some time ago, expressed his opinion that ravens are gradually becoming extinct in England, I offered the few following words about my experience of these birds. The raven in this story is a compound of two great originals, of whom I was, at different times, the proud possessor. The first was in the bloom of his youth, when he was discovered in a modest retirement in London, by a friend of mine, and given to me. He had from the first, as Sir Hugh Evans says of Anne Page, ‘good gifts’, which he improved by study and attention in a most exemplary manner. He slept in a stable—generally on horseback —and so terrified a Newfoundland dog by his preternatural sagacity, that he has been known, by the mere superiority of his genius, to walk off unmolested with the dog’s dinner, from before his face…”

London Chapmwn Hall. 1870. 770p

From the Cover: In this, his most famous book, Genet charts his progress through Europe and the 1930s in rags, hunger, contempt, fatigue and vice. Spain, Italy, Austria, Czechoslovakia, Poland, Nazi Germany, Belgium . . . everywhere the pattern is the same: bars, dives, flop-houses; robbery, prison and expulsion. This is a voyage of discovery beyond all moral laws; the expression of a philosophy of perverted vice, the working out of an aesthetic of degradation. The cover shows 'Head on Stand' (1947)b y Alberto Giacometti, in the Maeght Collection.

London. Penguin Classics. 1950s? THIS BOOK CONTAINS MARK-UP

By Bernard Conners

NY. British American Publishing. 1983. 360p.

The novel explores the vibrant subculture of dancehall music and its influence on the lives of young black people in London during that time. It also delves into issues of identity, race, gender, and class, as Yvette navigates her way through a complex and sometimes hostile world.

As Yvette begins to explore her sexuality and her desire for independence, she confronts the challenges and contradictions of growing up as a young black woman in a society that often fails to recognize her worth and potential. Through her experiences, the novel explores the ways in which racism and sexism intersect, and the impact they have on the lives of marginalized individuals and communities.