Zane Grey frames The Last of the Plainsmen as a firsthand narrative of a 1907 journey with Charles Jesse “Buffalo” Jones, a figure Grey introduces through a prefatory note that emphasizes Jones’s singular passion: capturing wild animals alive rather than killing them. Grey writes that Jones “even disliked the sight of a sporting rifle” and, foreseeing the bison’s extinction, “smashed his rifle over a wagon wheel and vowed to save the species.” This editorial note examines how the catalog subjects—Western stories, biographical fiction, and pioneers—align with the excerpts, which reveal a work more concerned with Jones’s methods and the harsh environments he traverses than with conventional plot or character development.

Biographical Framing vs. Fictional Treatment

The catalog classifies this as both “Western stories” and “Biographical fiction,” yet the excerpts present a hybrid form. Grey’s prefatory note supplies verifiable details—Jones’s age, his history of taming native beasts, his home on the north rim of the Grand Canyon—but the narrative voice quickly shifts into a personal, almost novelistic register. Grey describes his own boyhood reading of Boone and Wetzel, then declares it “my destiny” to live “in the fast-fading wild environment.” The text does not consistently maintain a biographical distance; instead, it blends reported fact with subjective recollection. Readers should note that the excerpts offer no evidence of invented dialogue or scenes beyond Grey’s own observations, leaving the boundary between biography and fiction ambiguous.

The Northern Interlude: Setting as Character

Although the catalog subjects emphasize the Western frontier, a substantial excerpt shifts to a far northern setting, where Jones and a trapper named Rea endure extreme cold and isolation. The prose dwells on sensory details: the “wan, round, lusterless ring” that Rea calls the sun, the aurora borealis described as “ever-present, ever-changing, ever-beautiful,” and temperatures dropping to seventy below zero. The environment dominates the action—the men wait months for daylight, their dogs and reindeer freeze, and the silence is “heart-numbing.” This section undercuts the expectation of a conventional Western, instead offering a survival narrative in which the landscape itself becomes the primary antagonist. The catalog’s “Western stories” label may mislead readers expecting cattle drives or shootouts.

Jones’s Obsession and the Limits of the Excerpts

The excerpts repeatedly highlight Jones’s compulsion to capture rather than kill, but they do not show him actually doing so. The prefatory note summarizes his life’s work, and the northern episode focuses on waiting and enduring, not on hunting. When Rea and Jones encounter the Yellow Knives, the tension arises from cultural misunderstanding, not from animal pursuit. The word “Naza!”—shouted by the chief with “eyes fixed in fanatical subjection”—remains unexplained in the provided text, hinting at a ritual or threat that the excerpts do not resolve. Readers must rely on Grey’s framing to infer Jones’s later successes; the excerpts themselves offer only preparation and hardship, not the promised capture of wild beasts.

The excerpts from The Last of the Plainsmen reveal a work that resists easy categorization. Grey’s narrative oscillates between biographical tribute and personal memoir, while the settings range from the Arizona desert to the Arctic. The catalog subjects provide a starting point, but the text itself demands attention to its specific, often unexpected details—the windmill Jones builds from caribou hides, the trapper Rea’s muttered woman’s name, the frozen reindeer “harder than iron.” Approach this book as a document of a particular expedition, not as a comprehensive biography or a typical Western.