Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves

Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves

Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves

Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves


Now in paperback, Shirley Paden's bestselling book Knitwear Design Workshop is the perfect knitting resource.

This book explores the various techniques involved in designing handknitted garments with a perfect individual fit. Knitters at all levels who want to go beyond blindly following commercial pattern instructions will fall in love (all over again) with Knitwear Design Workshop, which pays special attention to knitters who would want to design their own traditional garments, stunning works of wearable art, experiment with garment shaping, write commercial patterns, or simply want to understand how to make minor modifications to commercial patterns. Conveniently, there are no prerequisites for using this book; instead, beginning with the first chapter, readers are guided through the different phases of the design process starting with the initial inspiration followed by a summary of the key design elements.

Every step of the design process is detailed and illustrated for clarity and readers will enjoy instructions for four garments, used to illustrate the steps for designing and knitting garments that fit. With open arms and creative minds, welcome back--again--this gorgeous paperback edition of Knitwear Design Workshop.


My introduction to Bass Reeves came in an Oklahoma history course at Oklahoma State University in the late 1950s. The teacher was Angie Debo, a temporary replacement, as I recall, for Berlin B. Chapman, who was on leave. Even in my late teens I was struck by the quality of her teaching, and although nearly fifty years have passed, I remember that classroom experience remarkably well. Angie differed in many ways from most historians of her generation. As she said in an American Experience film, made when she was ninety-five, she committed the cardinal sin for the historian: she told the truth. She ultimately chose to expose the means by which white Oklahomans preyed on the Indians and Freedmen and their resources rather than to glorify the land rushes and the “triumph” of white settlers and entrepreneurs. For that choice she was blacklisted by the wealthy and politically powerful of Oklahoma and could obtain only substitute or temporary teaching positions in institutions of higher learning in the state, like the one she held that summer in the late 1950s when I enrolled in her class.

In some ways, however, Angie was like the other old-style historians. Her vision of history was beset with blind spots. Whether it was her wry sense of humor or her spirited teaching method that made the lasting impressions, I remember that her comments on Bass Reeves were offhand and had a tone about them that treated Reeves as an oddity. But he was not an oddity at all. He was one of many African Americans and African Indians, such as Grant Johnson, Crowd er Nix, and Robert Fortune, who served as peace officers in the region that later became Oklahoma. Angie probably did not know that in the African American . . .

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