"Tex" — Reading Companion

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Mulford, Clarence Edward, 1883-1956 Project Gutenberg 2013 Not confirmed
Western stories; Cassidy, Hopalong (Fictitious character) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 92,344
Reading time 402 min
Text sections 11

The catalog record for "Tex" — Reading Companion provides practical reading context through 92,344 words, 6 hr 42 min estimated reading time, and 11 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.

Clarence E. Mulford's 'Tex' follows a laconic cowboy navigating a Montana town's politics and violence, marked by dry humor, deliberate pacing, and a tension between frontier justice and self-interest.
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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.

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  • 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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Read the Text

dy had set before him, the domestic tragedy certainly would have sent him plunging down to his former level or below it.

Time passed and finally brought him news of the tragic death of his faithless wife, and he found that it did not touch him. He had felt neither pity, sorrow, nor relief. It is doubtful if he ever had given a thought to the question of his freedom, for with his mental attitude it meant nothing at all to him. He had put among his belongings the letter from his former employer, who had known all about the affair and the names and addresses of several of his western friends, telling him that he was free; and hardly gave it a second thought.

Turning from his careless scrutiny of the distant pass he rode on again and soon became aware of the sound of hoofbeats rapidly nearing him. As he looked up a rider topped a rise, descried him, and waved a sombrero. The newcomer dashed recklessly down the slope and drew rein sharply at his side, a cheerful grin wreathing his homely, honest face. Pete was slow-witted, but his sterling qualities masked this defect even in the eyes of a man as sharp as his companion, who felt for him a strong, warm friendship.

"Hello, Tex!" said the newcomer. "What’s eatin’ you? You shore look glum."

Tex thought if it was plain enough for Pete Wilson to notice it, it must be plain, indeed. "Mental worms an’ moral cancer, Pete," replied the cynic, smiling in spite of himself at the cogitation started in his friend by the words.

"Whatever that means," replied Pete, cautiously. "However, if it’s what I reckon it is, there’s just two cures." Pete was dogmatic by nature. "An’ that’s likker, or a new range."

"Somethin’s th’ matter with you today, Pete," rejoined Tex. "Yo’re as quick as a reflex." He studied a moment, and added: "An’ yo’re dead right, too."

"There ain’t no reflection needed," retorted Pete; "an’ there ain’t nothin’ th’ matter with me a-tall. I’m tellin’ you common sense; but it’s shore a devil of a choice. If it’s likker, then you lose; if it’s driftin’ off som’ers, then we lose. Tell you what: Go down to Twin River an’ clean ’em out at stud, if you can find anybody that ain’t played you before," he suggested hopefully. "Mebby there’s a stranger in town. You’ll shore feel a whole lot better, then." He grinned suddenly. "You might find a travelin’ man: they’re so cussed smart they don’t think anybody can learn ’em anythin’. Go ahead--try it!"

Tex laughed. "Where you goin’?" he abruptly demanded. He could not afford to have any temptations thrown in his way just then.

"Over Cyclone way, for Buck. Comin’ along?"

Tex slowly shook his head. "I’m goin’ th’ other way. Wonder why we haven’t got word from Hoppy or Red or Johnny?" he asked, and the question acted like alum in muddy water, clearing away his doubts and waverings, which swiftly precipitated and left the clear fluid of decision.

"Huh!" snorted Pete in frank disgust. "You wait till any of them fellers write an’ there’ll be a white stone over yore head with nice letterin’ on it to tell lies forever. You know ’em. Comin’ along with me?" he asked, wheeling, and was answered by an almost imperceptible shake of his friend’s head.

"I’ll shake hands with you, Pete," said Tex, holding out his deft but sinewy hand. "In case I don’t see you again," he explained in answer to his friend’s look of surprise. "I’m mebby driftin’ before you get back."

"Cuss it!" exploded Pete. "I’m allus talkin’ too blamed much. Now I’ve gone an’ done it!"

"You’ve only hastened it a little," assured Tex, gripping the outstretched hand spasmodically. "Cheer up; I don’t aim to stay away forever!" He spurred his mount and shot away up the incline, Pete looking after him and slowly shaking his head.

When the restless puncher stopped again it was at the kitchen door of the white ranchhouse. As he swung from the saddle something stung him where his trousers were tight and he stopped his own jump to grab the horse, which had been stung in turn. A snicker and a quick rustle sounded under the summer kitchen and Tex took the coiled rope from his saddle, deftly unfastening the restraining knot. The rustling sounded again, frantic and sustained, followed by a half-defiant, half-supplicating jeer.

The opening chapter of 'Tex' establishes a deliberate, almost painterly pace, describing a Montana range with the care of a landscape study: 'a rain-washed, wind-swept range... rising on its sides like a vast, shallow saucer.' The prose slows to observe a rider moving among cattle, his chaps worn 'more because of earlier associations than from any urgent need.' This attention to detail—the hat worn 'in a manner suggesting a cavalier of old,' the holster with its 'waiting, deadly tenant'—signals a story less concerned with rapid action than with character and atmosphere.

Mulford's voice, however, quickly pivots to dry, understated humor. When Tex Jones is confronted about a shooting, he explains, 'he just made me do it. I dassn't let him shoot twice, dast I?' The contrast between the lyrical opening and the colloquial, wry dialogue sets up a central tension: the romantic frontier versus its pragmatic, often absurd realities.

The Landscape as Character

The novel's first paragraphs devote unusual space to setting: a 'great pasture level in the center, but rising on its sides like a vast, shallow saucer,' with 'lavender and purple rim' and 'deep blue gash' of passes. This is not mere backdrop but a force that shapes the characters' movements and decisions. The three faint trails leading 'off to Everywhere' suggest a world of choices and departures, while the grazing cattle move 'slowly and jerkily, like spilled water down a gentle, dusty slope.' The rider, by contrast, follows 'one thread with definite directness,' a purposeful figure in a placid landscape.

Later, the town of Windsor is sketched through its commercial details—a store, a hotel, a stepladder against shelves—and its social dynamics revolve around property and protection. The land itself recedes, but the memory of the opening panorama lingers, reminding readers that this is a story where geography and human action are intertwined.

Dialogue as a Game of Wits

Mulford's dialogue is a sparring match of understatement and indirection. When Gus Williams questions Tex about shooting Bud Haines, Tex deflects with self-deprecating humor: 'I generally play in bad luck. Ever since I shot that black cat, up at Laramie, I've had bad luck—not that I'm what you might call superstitious.' The exchange reveals character through evasion and timing. Williams, the property owner, probes Tex's suitability as marshal with a blend of avuncular concern and self-interest: 'I got to have a good man, a man that'll pertect th' most property first.'

Tex's replies are measured, filled with pauses and physical business—turning his hat, punching out dents—that mirror his verbal caution. He admits he is still waiting for a letter that may never come, but frames his need for work with a poker player's logic: 'Meanwhile I got to eat—an' I like a game of poker once in awhile.' The negotiation over the marshal's salary becomes a dance of mutual assessment, with each man trying to gauge the other's value.

Violence and Its Casual Aftermath

The shooting of Bud Haines is treated not as a dramatic climax but as a matter of fact, discussed over merchandise and dusting. Tex's regret is genuine but understated: 'I aimed to stop a killin', an', instead of doin' it, I went an' made one.' Williams's reaction is practical—he lost a valuable employee—and his concern shifts quickly to finding a replacement. The town's need for a marshal arises from 'placerin' going good' and the threat of lawlessness, yet the conversation about the job is laced with irony: Tex calls Windsor a 'lawless, desperate town' while Williams insists it is 'peaceable.'

This casual treatment of death, combined with the careful negotiation of authority, suggests a world where violence is routine but not glorified. The gun that 'leaped into crashing life' at the sight of a rattler (as noted in the book's front matter) is a tool, not a symbol. The tension lies in how characters balance necessity, reputation, and survival in a place where the line between order and chaos is thin.

Readers approaching 'Tex' should attend to the spaces between events: the long descriptions of landscape, the pauses in conversation, the weight of a hat being turned over. Mulford builds his story through accumulation of detail and dialogue that reveals more by what it leaves unsaid. The novel rewards patience and an ear for the rhythms of western speech, offering a portrait of frontier life that is both wry and unsentimental.

Reading Tex brought me back to a dusty afternoon in my uncle’s shed, where I first met a cowboy whose silence said more than any speech. That same unhurried patience lingered in A Madeira Party — Key Ideas to Explore, a book that felt like sitting still while the world moved around me. Both left me quieter, somehow. Odd how a stranger’s restraint can feel like company.

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