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Wheeler is the dean of the modern western story. His novels are tender, tough, critical, and original—he has tackled expansive historical dramas, such as, a masterful portrayal of the San Francisco earthquake of 1906; biographical novels like Trouble in Tombstone; mining camp stories, such as his Spur winning novel Vengeance Valley. He is also the author of the well-received Barnaby Skye series—the most recent title in the series is —and his recently released autobiography,, has been praised by readers and writers alike. The Sea of Grass, by Conrad Richter, first appeared as a Saturday Evening Post serial in 1936, and was published by Alfred Knopf in 1937. It is still in print, from the. The novel might be called a traditional cattleman vs. Nester story, but it is much more.

It is narrated by young Hal Brewton, nephew of the story’s central figure, Jim Brewton, who runs cattle on a vast sea of grass near Salt Fork, which is probably in Texas but could be in New Mexico. The fire in his eyes. There is the heart of the novel. At the beginning, with the arrival of Brewton’s mail-order bride Lutie, we discover a horde of nesters waiting to swarm over Brewton’s ranch.

And supporting them is the federal attorney, and later judge, Brice Chamberlain, who sympathizes with the humble. Lutie does, too. She furiously tries to civilize the obdurate Brewton, adding graces to his home, bringing a son and daughter into the family, and taking him to Mass on Sundays, but there is no taming old Jim. Eventually, she has a third child, a blond boy, as blond as Brice Chamberlain is blond, and soon after that she leaves Brewton, and her whereabouts are unknown for years. But Chamberlain remains in Salt Fork, calls in the army to defend the nesters, and soon the nesters are plowing up Brewton’s range.

After a trial, when Chamberlain asks Brewton why his men ran off a nester named Boggs, Brewton has a surprising reply: 'He was not run off because he wanted to settle those hundred-sixty acres but because of what he wanted to do with the land.' He goes on to say he has some charity for the nester. 'But–'and his voice began to ring in the small, hushed courtroom, 'when that nester picks country like my big vega, that’s more than seven thousand feet above the sea, when he wants to plow it up to support his family where there isn’t enough rain for crops to grow, where he only kills the grass that will grow, where he starves for water and feeds his family by killing my beef and becomes a man without respect to himself and a miserable menace to the territory, then I have neither sympathy nor charity!' As the novel progresses, we learn that Brewton was right.

At first, during a wet cycle, the nesters prosper, their crops bloom, and their life seems assured. But with the coming of a dry cycle, their hopes collapse and they flee, leaving a ruined grassland behind them. The novel was written long before publishers narrowed the traditional western to men’s literature that resolves conflict through violence.

And while there is some violence in the story, it is offstage and muted. More surprising was the veiled but unmistakable adultery theme in the novel, handled delicately for the Saturday Evening Post readership.

Old Jim Brewton remains as obdurate and flinty as ever as he ages, and late in the novel it appears that he was defeated by his rival and enemy, Brice Chamberlain, after all. But then one day Lutie mysteriously reappears, as passionate and willful as ever, begins once again to civilize the old ranchhouse, and takes up residence as though she had never left. And not only does Brewton welcome her, he is triumphant, for her return marks the final defeat and disgrace of Chamberlain– but I will leave it to the reader to interpret the surprising conclusion. Conrad Richter’s prose is lyrical and draws us into a world scarcely imagined by modern people. But even more of an asset is his gift of characterization. Lutie and Jim Brewton are as vivid as any characters ever set on a page.