Though this book was written over thirty years ago, the truths in it are still fresh and real. The author allows the reader to enter the mind and heart of the mentally impaired man who is Denny--the main character. Seeing the world through his eyes gives insight to the reader that remain long after the last page is read.

Part history and part dreamy reminiscence, this book is an account of a boy growing up in Southwest Saskatchewan in the early part of the 20th Century. The central portion of the book is pure history, and the long chapters on cowboys are particularly challenging because they require an intimate knowledge of cowboy terminology. Stegner does not mince words about the difficulties of life on the plains--extremes of heat and cold, wind, hostile topography, lack of cultural amenities--the result of which is that most who grew up there moved elsewhere. But he also shows a passionate attachment for the country of his childhood. The narrative often seems rambling because, like James Michener, the author tries to incorporate so much besides history--including the biology and geology of the nearby Cypress Hills, the biologically diverse area nearby--and even his poetic musings have elements of fact, as when he describes the wind, or the gophers, or his swimming hole, or his school, or his family's homestead, or the problems involved in the town's incorporation.

This wonderful collection of essays and fiction about the last Western frontier is both romance and anti-romance. Writing in the 1950s, Stegner captures the breath-taking beauty of the unbroken plains of southwest Saskatchewan and the excitement of its settlment at the turn of the century. Part memoir, the book recounts the years of his boyhood in a small town along the Whitemud River in 1914-1919, the summers spent on the family's homestead 50 miles away along the Canadian-U.S border. His book is also an account of the loss of that Eden and the failed promise of agricultural development in this semi-arid region with thin top soil.

Stegner is a gifted, intelligent writer, able to turn the people and events of history into compelling reading. The opening section of the book describes the experience of being on the plains and specifically in the area where Stegner was a boy. And it lays out the geography of that land -- a distant range of hills, the river, the coulees, the town -- which the book will return to again and again.

The following section evokes the period of frontier Canada's early exploration, the emergence of the metis culture, the destruction of the buffalo herds, the introduction of rangeland cattle, and then wave upon wave of settlement pushing the last of the plains Indians westward and northward. A chapter is devoted to the surveying of the boundary along the Canada-U.S. border; another chapter describes the founding of the Mounted Police and its purely Canadian style of bringing law and order to the wild west.

The middle section of the book is a novella and a short story about the winter of 1906-1907. In the longer piece, eight men rounding up cattle are caught on the open plains in an early blizzard. Stegner builds the drama and the peril of their situation artfully and convincingly. The final section of the book returns to Stegner's memories of the town and the homestead, ending with his family's departure for Montana.

Stegner lived at a time and in a place where a person born in the 20th century could still experience something of the sweep of history that transformed the American plains. I've read many books about the West, and because of his depth of thought, his gifts as a writer, and his unflinching eye, Stegner's work ranks for me among the best. I heartily recommend this book.

Pulitzer Prize-winning author, Wallace Stegner grew up on the prairie frontiers of North Dakota, Saskatchewan, and Montana, and in the mountains of Utah. As is indicated by the subtitle, this volume combines history, a memoir, and historical fiction. Readers who have spent significant time on the snow swept northern steppes may find a small part of themselves, and of this land, in Wolf Willow. ...
"On those miraculously beautiful and murderously cold nights glittering with the green and blue darts from a sky like polished dark metal, when the moon had gone down, leaving the hollow heavens to the stars and the overflowing cold light of the Aurora, he thought he had moments of the clearest vision ... In every direction ... the snow spread; here and there the implacable plain glinted back a spark - the beam of a cold star reflected in a crystal of ice." (The scene evokes in me a powerful memory, as I recall often standing alone on just such "murderously cold" snow blanketed prairies and gazing into those "miraculously beautiful" night skies.)

Stenger believes Hill is guilty from the start and tries to make him out to be a common criminal. While Joe is no choir boy the truth is stranger than fiction. Little is known of Hill's buddy Otto Applequist, but over the years more facts have been uncovered about this man's fascinating life. Not the ... son of a Swedish minister but one of many sons of a working class family. An immigrant who becomes disillusioned with the American dream after he finds, instead of streets paved with gold, only forests, mines, docks, and streets covered with the blood of his fellow workers. Not a romantic bandit, but a revolutionary who chose to use his death sentence to bring the cause of labor to the forefront. If you want a balanced book about him get Joe Hill by Gibbs Smith. "Don't Mourn - Organize!" - Joe Hill 1917

Wallace Stegner's novel attempts to strip away the layers of mythology created around songwriter, artist and organiser Joe Hill. Taciturn Swedish sailor, fervent Wobbly, possible murderer, victim of conspiracy and, ultimately, willing martyr - all these aspects of the legendary Trade Unionist are explored in an effort to get to grips with the "real" Joe Hill. Stegner has tried to penetrate the conventional IWW mythology around Hill, refusing to accept the simplistic interpretation of an innocent man fitted up by the law. Instead, the Joe Hill he writes of is human, multidimensional - possibly guilty but a flawed hero nonetheless. Stegner explores the creation of a martyr andthe creation of a myth. Reading the story of Hill adds a poignancy and human dimension to the formulaic elegies of folksong and syndicalist tradition.