November 17, 2014 / by admin / American History / No Comments

Cities of Gold: A Journey Across the American Southwest in Pursuit of Coronado

Cities of Gold: A Journey Across the American Southwest in Pursuit of Coronado

Douglas Preston, Walter W. Nelson

Language: English

Pages: 402

ISBN: 2:00250761

Format: PDF / Kindle (mobi) / ePub


This new ebook edition of Cities of Gold includes for very first time over 100 never-before-published photographs taken during the author’s epic, thousand mile horseback journey across Arizona and New Mexico.

It also includes many rare and extraordinary historical photographs of the Old West, Native Americans, pioneers, prospectors, Indian pueblos, and vanished landscapes.

About the Authors

Douglas Preston is a journalist and author who has published twenty-six books, nonfiction and fiction, several of which have been #1 New York Times bestsellers. In addition to Cities of Gold he is the author of several books on Southwestern history, including Talking to the Ground and The Royal Road.
Preston is the co-creator, with Lincoln Child, of the Pendergast series of novels, including Relic and The Cabinet of Curiosities—both of which were named in a National Public Radio listener poll as being among the 100 greatest suspense novels ever written. Preston’s most recent nonfiction book, The Monster of Florence, is being made into a movie starring George Clooney.
Preston also writes for the New Yorker magazine, the Atlantic and Smithsonian, and he taught nonfiction writing at Princeton University. He divides his time between Maine and New Mexico.

Walter W. Nelson began his creative career in 1967 and it has spanned a period of 40 years. He first explored the field of photography, traveling around the world, discovering spiritual places, deep landscapes, places of origin, experimenting with abstract colors and textures, always seeking the visual heart of existence in the desert, mountains, canyons, rivers, and cities of the world. He later branched out to painting and sculpture, and combined all three into an ever-expanding visual tapestry of mind and consciousness. “My life and my art,” Nelson wrote, “is a constant journey into the unknown, always looking ahead, never behind, a positive and spiritual quest to understand and portray inner and outer existence.”
Nelson’s work has been collected by many museums, including the Museum of New Mexico, the Albuquerque Museum of Art, The San Diego Museum of Photography, the Houston Museum of Fine Arts, the New Orleans Museum of Art, and Stanford University. It is also represented in a number of corporate collections including Coca Cola, IBM, Exxon, and American Express.
Nelson’s most recent photography book, The Black Place, was published by the Museum of New Mexico Press in March 2014. Douglas Preston wrote the introduction.

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blazes are you boys doing in my corral, helping yourselves to my feed and water?” I began to explain, telling him about our trip, and how this barn full of alfalfa was a real godsend to our starving horses, and how we’d looked for the ranch house but could not see it, and how we’d left five dollars in the barn. There was a silence. He hooked his bootheel on the corral fence and tilted up his hat. “Coronado, you say?” he said. “Now that’s interesting. I’d like to hear more.” We described our

to Albuquerque. His wife was so weak that the starving sixty-four-year-old carried her on his back much of the way; the next year Udell and his wife tried again and made it to Sacramento, where Udell found his children and lived to be a very old man.) “P. GILMER BRECKINRIDGE VA. 1859” (“Peachy” Breckinridge stopped at El Morro in 1859 with a train of twenty-five camels, part of an army experiment to see how camels would do in the Southwest. Peachy was an aristocratic graduate of the Virginia

constantly on the verge of panic. The roping arena lay at the very edge of town. We found a crowd of Hispanic cowboys there, standing around drinking beer and watching two men team-rope their way through a chuteful of Mexican cattle. “Hey Leonard!” a cowboy called out to one of the ropers. “You got a couple dirty gringos here want to talk to you.” He laughed and slapped Walter on the back. Leonard trotted his horse into a corral, flipped the reins over a fence, and walked over. He scooped up

photographing with it. For my Deardorff 8×10 camera, I designed a special set of saddlebags, which I had constructed out of truck driver’s high-impact tarpaulin material, lined with a dense, soft fabric. When packing a horse, the weight on each side of the packsaddle has to be exactly the same. Thus, the saddlebags for my camera had to carry equal weight on both sides. The 8×10 camera went on the left bag, exactly balanced by nine film holders on the right bag. I designed these saddlebags to

all but eight were women and children; the Aravaipa men had been out hunting in the hills when the attack occurred. The defenseless women and children were clubbed, shot, dismembered, and gutted; those who tried to crawl away were beaten on the heads with rocks until their brains burst. Almost all the dead were mutilated in the most ghastly ways and at least two of the women were raped. The only survivors were some women and twenty-seven children taken by the Papagos, and these were sold into

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