To The Last Man 

 

 by 

 Zane Grey 

 

 CONTENTS 

 

 FOREWORD 

 It was inevitable that in my efforts to write romantic history of the great West I should at length come to the story of a feud. For long I have steered clear of this rock. But at last I have reached it and must go over it, driven by my desire to chronicle the stirring events of pioneer days. 

 Even to-day it is not possible to travel into the remote corners of the West without seeing the lives of people still affected by a fighting past. How can the truth be told about the pioneering of the West if the struggle, the fight, the blood be left out? It cannot be done. How can a novel be stirring and thrilling, as were those times, unless it be full of sensation? My long labors have been devoted to making stories resemble the times they depict. I have loved the West for its vastness, its contrast, its beauty and color and life, for its wildness and violence, and for the fact that I have seen how it developed great men and women who died unknown and unsung. 

 In this materialistic age, this hard, practical, swift, greedy age of realism, it seems there is no place for writers of romance, no place for romance itself.  For many years all the events leading up to the great war were realistic, and the war itself was horribly realistic, and the aftermath is likewise. Romance is only another name for idealism; and I contend that life without ideals is not worth living. Never in the history of the world were ideals needed so terribly as now. Walter Scott wrote romance; so did Victor Hugo; and likewise Kipling, Hawthorne, Stevenson. It was Stevenson, particularly, who wielded a bludgeon against the realists. People live for the dream in their hearts. And I have yet to know anyone who has not some secret dream, some hope, however dim, some storied wall to look at in the dusk, some painted window leading to 

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