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Synopsis

Andy Seven, author of Every Good Boy Dies First, presents a double-novel package that brings a new dimension to the Western novel. Wranglers’ Canyon: a Tale of the Old West, and Crash Walker: a Tale of the New West. Both novels chronicle the twisted road of murder and deception Crash Walker must travel – first in the post-Civil War wreckage of the 19th Century and returning to the purgatory of the post-JFK assassination era of the 20th Century. WRANGLERS’ CANYON – Crash Walker is a floater, drifting between jobs as a cattle driver, ranch hand, rodeo rider, yodeling singing star, convicted criminal, ultimately promoting to Sheriff of Jonestown. As the new Sheriff in town he faces the ruthlessly murderous Hiss Ranch, who are gunning to kill him and destroy the City of Jonestown. With the help of a harelipped gunfighter, senile as hell snake handler, oil-addict amputee and a tribe of peyote smeared cactus harpies, Crash Walker finds his lazy hands full with babes, blood and bullets! Wranglers’ Canyon is a cowboy shoot ‘em up as imagined by Jean Rollin and/or Jess Franco, so there’s loads of lysergic drugs and even more lysergic erotica in between the six guns and chewing tobacco being chawed. CRASH WALKER – Crash Walker is the Z-list star of Sixties TV show Wranglers’ Canyon. Stupid, lazy and insanely good looking, he makes the show biz beat from Schwab’s Drug Store to the International Teen Fair to Hollywood Hills parties where he crashes headlong into destiny. Unfairly accused of the murder of beloved right-wing cop show star Bill Flagg, Crash must prove his innocence. He’s also the target of an ominous conspiracy to exploit him as a puppet politician propped up to serve a small Californian committee of powerful businessmen. Through it all he films toy commercials, performs publicity stunts, makes public appearances, visits his mentally insane missile designer father and dodges an even more mentally unstable ex-girlfriend. Wranglers’ Canyon/Crash Walker is presented in the double novel format so popular during the paperback publishing boom of the Forties and Fifties. In both novels Crash Walker responds to a whirlpool of turbulent change forced upon him by men of control, greed and societal pressure. As simple as Crash Walker may be we believe in him and in his nightmarish struggle. Wranglers’ Canyon/Crash Walker is a Western like no other. It’s a Western that picks up where Alejandro Jodorowsky’s El Topo left off, an endlessly surreal landscape of Western nuclear sundowns and Sunset Strip neon nightmares.

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