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"Most trails are designed just to get the visitor from Point A to Point B. Interpretive trails are designed to help the visitor laugh, cry, smile, discover, understand and explore along the way." - John A Veverka. Interpretive trails - both outdoor and indoor - are used by museums, galleries, historic sites, parks, gardens and zoos worldwide. They can provide visitors with a unique immersion experience in viewing, discovering and enjoying the locations they're visiting, and in helping them re-connect with a natural or cultural environment in a personal way. Yet to be truly effective, there are proven and tested guidelines to follow about how to plan any trail's story, its experience opportunities, and its delivery and physical design. Based on 40 years' interpretive planning experience, The Interpretive Trails Book shares successful planning strategies and guidelines as tools to help create amazing interpretive experiences. For those involved in learning, engagement, interpretation, planning, consultancy, landscape architecture, and training - and those charged with developing interpretive trails who have no specific training in interpretive services themselves, this book will become an indispensable and easy-to-follow resource to help create trails that engage, motivate and inspire visitors.
When Quirt Adams' wife, Abigail is kidnapped, the big rancher believes it to be his old nemisis, Raul Ortega, better known as 'El Lobo.' Quirt sets out on the trail of the kidnappers and is led from Arizona to the gold fields of Colorado. The showdown occurs on a high mountain peak, where Quirt finally catches up to the ones that took Abby. A great read for the Western fan.
In collecting, arranging, editing, and preserving the "Songs of the Cattle Trail and Cow Camp," my friend John Lomax has performed a real service to American literature and to America. No verse is closer to the soil than this; none more realistic in the best sense of that much-abused word; none more truly interprets and expresses a part of our national life. To understand and appreciate these lyrics one should hear Mr. Lomax talk about them and sing them; for they were made for the voice to pronounce and for the ears to hear, rather than for the lamplit silence of the library. They are as oral as the chants of Vachel Lindsay; and when one has the pleasure of listening to Mr. Lomax--who loves these verses and the men who first sang them--one reconstructs in imagination the appropriate figures and romantic setting.
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