Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Pasó Por Aquí and the Desire of the Moth: Two Classic Novels of New Mexico

Pasó Por Aquí and the Desire of the Moth: Two Classic Novels of New Mexico

Rhodes, Eugene Manlove
Scharnhorst, Gary

Paperback

WesternsHistorical Fiction

ISBN10: 082636957X
ISBN13: 9780826369574
Publisher: Unm Press
Published: May 19 2026
Pages: 144
Weight: 0.40
Height: 0.35 Width: 5.50 Depth: 8.50
Language: English
Eugene Manlove Rhodes, who coined New Mexico's official state nickname the Land of Enchantment, was a superlative writer of fiction in the Southwest during the early twentieth century. This new annotated edition of two of his best novels provides the ideal introduction to this unjustly neglected writer.

A real-life cowboy, rancher, miner, and army scout for twenty-five years before launching his literary career, Eugene Manlove Rhodes depicted the times and terrain of southern New Mexico in popular fiction hailed for its realism. He elevated the Western novel to a literary art form.

Rhodes is best remembered today for the brief novel that is generally considered his masterpiece, Pasó por Aquí. Inspired by the 1905 robbery of the First National Bank of Belén, Rhodes's story follows bank robber Ross McEwen as he is pursued across the deadly wasteland of the infamous Jornada del Muerto by a posse led by legendary New Mexican lawman Pat Garrett.

Like Pasó por Aquí, The Desire of the Moth offers a revisionist Western featuring a hero on the lam from the law--but in this story, largely set around Las Cruces, New Mexico, the alleged criminal is actually an innocent man targeted for lynching by his political opponents.

This new annotated edition of two of Rhodes's best-loved stories includes an introductory essay and notes by critic Gary Scharnhorst.

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