One thing editor and essayists agree on is the idea that much re-
mains to be done in western history. William Lang ("Using and Abus-
ing Abundance"), for example, notes the need for studies of "heavy
industry and manufacturing, Alaskan canning, dude ranching, and
recreation" (p. 283). F. Alan Coombes ("Twentieth-Century Western
Politics") calls for more detailed studies of western political history.
Frederick C. Luebke ("Ethnic Minority Groups") complains that most
of the work in his field has been done by "filiopietists" (p. 388) and not
by trained historians. It will startle some readers to hear from Her-
bert T. Hoover that "Indian studies are just beginning to blossom"
(p. 191), while Richard W. Etulain, in a final look at the field, recom-
mends "full-length studies" of religion, art, drama, and music in the
West (pp. 419,424).
Behind the urgency of these recommendations is a perception of the
need for synthesis. A multitude of individual studies need to be writ-
ten before overviews and interpretations can be reasoned and written.
Gerald D. Nash's The American West in the Twentieth Century is
"the only overview of the recent West" (p. 425), says Etulain. The
evidence must be in before a verdict can be reached.
This is the need that adds immediacy to the contributions of these
seventeen scholars and gives their book special significance. The grapes
are ripening and laborers are needed in the vineyards. History for
these authors is not a dying discipline, and they are scholars with a
Tucson, Arizona C. L. SONNICHSEN
Pecos to Rio Grande: Interpretations of Far West Texas by Eighteen
Artists. Introduction by Ron Tyler. Publisher's foreword by
Frank H. Wardlaw. (College Station, Tex.: Texas A&M Univer-
sity Press, 1983. Pp. 125. Publisher's foreword, introduction, color
plates, photographs. $29.95.)
Number six in the Joe and Betty Moore Texas Art Series, this book,
like the five before it, reproduces works by Texas artists in full and
accurate color. Eighteen landscape painters capture in oil and water-
color the area of the Big Bend. The book contains over forty color
plates, along with an artist's statement explaining or describing the
site, the mood, or the interest of the artist at the particular moment the
work was done. Each artist brings his or her particular style to the
subject. Heather Edwards and Ancel E. Nunn, for example, work
within a tightly realist manner. John W. Guerin's lyrical abstractions
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 88, July 1984 - April, 1985. Austin, Texas. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth101210/. Accessed October 7, 2015.