All the Real Dudes

One of poetry’s fastest growing movements looks for new friends.

by Paul Constant
Cowboy Poetry. An original illustration by Paul Killebrew.Original illustration by Paul Killebrew.


“It’s just what I do,” Ken Cook says. “I rope horses and punch cows and write poetry.”

Cook recognizes this isn’t exactly normal behavior for either a cowboy or a poet, but Cook also knows he isn’t the only one who sees ropes, horses, cows, and poems as all of a piece. In fact, he’s just one member of the popular (and growing) cowboy poetry movement that has, over the past decade, proven itself adept at gathering up one thing most more “mainstream” poetry has not: an expanding audience of devoted fans.

If you don’t live in a state with a sizable amount of desert, or a livestock-to-human ratio that gives the animal kingdom a fighting chance, then this may come as a surprise. Bookstores in temperate coastal climates aren’t very likely to stock more than one cowboy poetry title at any given moment, and that solitary book, if they even carry it, will be shelved in either the poetry section or the humor section, depending on the whims of the store’s staff. Based on the evidence on display in any of these bookstores, you’d never realize that cowboy poetry so popular, drawing thousands of fans to events and festivals across the U.S.

Cowboy poetry festivals take place in dozens of towns across America—virtually every state west of the Mississippi—from Alpine, Texas, to Monterey, California, to Green Forest, Arkansas. Every year in January, thousands of people gather in Elko, a small town in northern Nevada, for the National Cowboy Poetry Gathering. The gathering—now in its 26th year—was founded primarily thanks to a grant from the National Endowment for the Arts. Cowboy poets record best-selling CDs and podcasts and have been nominated for Grammys (and even won one). By any standard, cowboy poetry has been a hit. By poetry standards, it’s a smash. But if you ask its practitioners, the real success of cowboy poetry is that on the page it attracts normal people—people who would otherwise never pick up a book of poetry—and on the stage it’s a performance that most non-slam poets don’t bother to grasp.

* * *

Like most modern cowboy poetry, many of Ken Cook’s poems look to the past, or use the past as a lens through which to remark on the future. Over the phone, Cook—a rancher out of Martin, South Dakota—is polite and plain-spoken, and very forthcoming about the sources of his love for cowboy poetry. He was involved in theater in high school, and while he liked some of the poets he had to read back in the day—“Robert Frost and all that”—he really fell in love with cowboy poetry when he attended a reading by NPR commentator Baxter Black in the mid-’80s. These days, as the current Lariat Laureate, Cook writes biographical poems about his grandfather and about the pride he feels when his son announces that he wants to be a cowboy himself. His work isn’t over-serious, but it’s no joke.

Brenda “Sam” DeLeeuw, a previous laureate, represents the other half of modern cowboy poetry: the jester. Her poems are funny and rich with exaggeration; one poem, “Cowboy Jumpstart,” involves angering a bull to get a truck going again; another, “Spreadin’ Sunshine,” is about an erudite woman from “back East” who visits a ranch and mistakes an old, beat-up manure spreader for modern art. And a poem titled “Boolie Shoppin’” (“boolie” is western slang for underwear) is a response to an earlier poem by a rancher named Bill Hirschi. Hirschi’s poem “Buying a Bra” is a modern cowboy classic—much-replicated across the Internet—in which a quiet cowboy is sent to buy a bra for his wife. The cowboy stammers and wonders at all the different types of lingerie available, and doesn’t know what cup size his wife is. DeLeeuw’s “Boolie Shoppin’” explores the world of men’s undergarments and finds that things aren’t as simple for dudes as they used to be: “Whoa!! Just which of you wears a G-string? / Thongs wedgin’ in the darndest places!” The poem ends with DeLeeuw taunting the men in the audience to drop their pants and show off just what they’re hiding, in a boolie “fashion show.”

* * *

To put it lightly, there’s a bit of a gap between mainstream poetry and cowboy poetry. It’s easy to see how poetry connoisseurs could completely disregard cowboy poetry as a genre; the poems all more or less stick to ballads, with stanzas constructed of strict ABAB or AABB rhyming patterns. And the subject matter, to someone on the outside, can feel constrained; when all you’re discussing is cattle punching—slang for tending cattle, usually while on horseback—and life on the range, you can understand why urban or suburban readers would think that’s a small canvas on which to paint.

Cowboy poets, too, frame themselves as outsiders from the mainstream; while they’re welcoming to newcomers, you get the sense that an academic study of cowboy poetry would be frowned upon by most of the poets and fans as unnecessary. But cowboy poetry represents a real American tradition of poetry, with strong ties back to the 1800s—ties so strong that it’s almost as though a contemporary of Ralph Waldo Emerson’s was still alive today.

* * *

To understand the appeal of cowboy poetry, it helps to go back to the beginning. Two classic compendiums of cowboy poetry in the public domain are now readily available for free in e-book form: 1908’s Songs of the Cowboys, edited by Nathan Howard Thorp, and the 1920 classic that basically introduced the genre to the world beyond the American West, Cowboy Songs: and Other Frontier Ballads, edited by John Avery Lomax. Besides the incidental mention of a truck or a thong, there’s not much difference between the poems in these books and the poems of Cook or DeLeeuw. Some of the verse provides useful advice for young men who are just getting started:

Work in Montana
Is six months in the year;
When all your bills are settled
There is nothing left for beer.

Work down in Texas
Is all the year around;
You will never get consumption
By sleeping on the ground.

Some of the poems are very funny, like Austin Corcoran’s “Chuck-Time on the Round-Up,” a backhanded tribute to a ranch chef named Old Doughy, which ends:

And I’ve come to this conclusion, and right here I want to say,
When you eat at “Cafe Doughy’s” you feel all right next day,
For here is “Doughy’s” record, and beat it if you can—
He’s cooked for us twenty years and never lost a man.

The satire here often reaches the level of Twain. Quite a few of the poems mock Mormonism, whose popularity was increasing exponentially in the West at the time. Some of these poems make light of polygamy:

Oh, Brigham, Brigham Young,
It’s a miracle how you survive,
With your roaring rams and your pretty little lambs
And your five and forty wives.

But some of the poems, such as “The Mormon Bishop’s Lament,” are downright vicious. This poem, told from the perspective of a fictional man who was recruited by Brigham Young, concludes:

Oh, my poor old bones are aching and my head is turning gray;
Oh, the scenes were black and awful that I’ve witnessed in my
Let my spirit seek the mansion where old Brigham’s gone to
For there’s no place for Mormons but the lowest pits of hell.

Despite what it might seem like from the above, the morality in most cowboy poetry wasn’t the kind of cut-and-dried conservatism people associate with John Wayne movies or Toby Keith songs. In his 1897 book Jim Marshall’s New Pianner and Other Western Stories, William Devere, the self-described “Tramp Poet of the West,” published an extraordinary poem titled “Jeff and Joe. A True Incident of Creede Camp, Colorado,” which describes a lifelong love affair between cowboys. The sympathetic portrait argues against any shock Brokeback Mountain might have had for cowboy poets.

* * *

Back when civilization was still a tenuous experiment, poetry was the most efficient way to impart information and educate large groups of people at once. As its utility faded and its artistry increased, poetry evolved into something else. But back when America was still figuring itself out, and pushing at its edges to see what else was out there, poetry again regained that spirit of old. Cowboys wanted stories to depict the morality that organized religion, with all its trappings of cushy East Coast life, couldn’t offer them in the West, where a rougher, more natural law was in command. Cowboy poetry reflected that morality; and those poems, and the traditions of those poems, still survive.

When asked if he thinks that cowboy poetry will still be written and performed in 100 years, Cook sounds a little nervous—he’s not comfortable speculating—but he finally says, “As long as there are men and women out on ranches doing what we do, I believe there will always be stories to be passed on and things to be written about.” When I ask what he’d have to say to “mainstream” poetry readers who would like to try reading some cowboy poetry, he’s a lot less shy: With cowboy poetry, he says, “There is a world of poetry out there that they don’t know a lot about but I’m sure that, as artistic people, they would love it. That way, we all get to know each other. We all got a lot of friends out there in the world,” he says. “We just haven’t met ’em yet.”

Originally Published: April 7, 2010


On April 7, 2010 at 6:20pm Margo Metegrano wrote:
Thank you for this article. There are also many fine examples of cowboy poetry that could have been included, including those by poets who are National Endowment for the Arts Fellows. Indeed, there are scholarly studies, including the excellent "Cowboy Poets and Cowboy Poetry" (2000, University of Illinois Press); and a number of serious books and articles. Information about those books and hundreds of poets are at, a project of the non-profit Center for Western and Cowboy Poetry. The Center's other programs include the Rural Library Project and Cowboy Poetry Week (April 18-14, 2010).

On April 7, 2010 at 8:23pm rdennis wrote:
As usual, I come away feeling that the author of this piece looks down his nose at cowboy poets, as lesser than "normal" poetry. Cowboy poetry in one form or another has been around for eons. It's a narrative from the gypsy's and nomads of this world, all thru' history. It's much more entertaining than most other forms and as the author stated, that is proven by the many people who are drawn to it over the past years. It is something that has been here forever and will be her forever until there are no more nomads or people who work the land.

On April 8, 2010 at 8:29am Jason Crane | wrote:
Wonderful article. Thanks for writing it. Off to investigate more cowboy poetry...

On April 8, 2010 at 2:37pm Darcy Minter wrote:

Hi Paul, Thank you for writing about cowboy poetry. If you are interested in learning more about the depth and breadth of cowboy poetry, we invite you to the National Cowboy Poetry Gathering in Elko, January 24-29, 2011. Here's the link to learn more: It's a genre that continues to evolve in new and surprising ways (these poets have been writing and performing free verse for almost as long as the Elko Gathering, which celebrated its 26th year in January). The PBS NewsHour covered the event in 2006 on a grant from the Poetry Foundation! And you might be surprised to know that about 40% of our audience members are from the city. Thanks again for the article!

On April 9, 2010 at 7:55pm Stewart E. Geworsky wrote:
Great article! While I was reading this, it
came to mind that poets truly do come
from all walks of life. So often we seem
to stereotype poets and writers . . .
placing them in a mold of their own. This
can be very discouraging for those on
the lower rung in the ladder. We think of
writers, and we see people like Stephen
King, Dean Koontz, Ernest Hemingway,
and the list goes on. I myself am a
trucker by trade, but poetry and writing
in general is my true passion. Truly the
writer and poet has many faces. Thanks
for reminding me that poets come from
all walks of life, and have just as much
to write about as the seasoned veteran.

On April 9, 2010 at 10:26pm Joe Cook wrote:
Enjoyed the article. Love the Poetry. Am jealous of the lifestyle. Happen to really enjoy the poets as well.

On April 10, 2010 at 1:45am jack sender wrote:
Being a fan of Louis Lamour, cowboy poetry takes me deeper to another side of the folk of the west.

On April 11, 2010 at 11:40pm Mike Chasar wrote:
More on Cowboy Poetry ("Write 'Em, Cowboy: Lovin' the Lariat Laureates") at "Poetry & Popular Culture." Check out

On April 14, 2010 at 10:40am Francie wrote:
Thank you. For being interested enough to write this.
And for writing it so well.
I think mainstream 'anything' searches from its inner core for what you write about in the next to last paragraph. I think that's the universal appeal of the cowboy way.
And if in the words we can get there, well, I hope more and more people will come to know - and share in and be a part of - the voices of the working West.

On April 20, 2010 at 12:07pm Daniel Gee wrote:
Cowboy poetry? SRSLY?

On April 26, 2010 at 11:33am Rocky Rutherford wrote:

Please be advised that all cowboys and cowboy poets are not West of the Mississippi. Our life styles differ but our attitude is cowboy. North Carolina has ranches, rodeos, and poets and some of the greatest working and rodeo cowboys who ever lived. Here's one of our rodeo poems: The Carolina Cowboy When I hear the roar of the rodeo And I see the fans rooting for me I pause to thank those Who sacrifice to keep America free. Now, I have my work to do And I must do my part To show what rodeo is, And why it is in my heart. I ride with pride, win or lose, And I'll always do my best To show a true cowboy's heart Beats within my Tar Heel chest. I ride to win, to be number one With a pride nothing can destroy I ride for God, fans, folks, country... I am the Carolina Cowboy Thank you for the article, it's always nice to read about cowboys.

On March 4, 2011 at 10:12pm Kurt James Stefka wrote:

I would like to make your followers aware of the Ruby Mountain Film Festival having its 1st year in Elko Nevada August 11-14.

One of the categories for submission is Poetry to Video. This is intended for the Cowboy Poets to have a forum through which to exhibit their work and compete in our international festival.

You can visit for more information. Click on the Submit Film link and scroll to the bottom and you will find more information on the 3 categories available.

Hurry and submit your video as the deadline for entry is May 15.

Kurt James Stefka

On April 7, 2011 at 11:09am Jeff Smith wrote:
I am a great-grandson of Jeff in the poem, Jeff and Joe. I spent over 25-years on his biography, which includes the history of Joe Simmons, a gang member. You see, Jeff and Joe were confidence men. They were never cowboys. William DeVere knew both men in Denver and Creede since the 1880s when they all met. DeVere was a manager of the Palace Theater in Denver and Jeff owned the Tivoli Club. DeVere was using literary license on the poem but the sentiments of losing a friend to death were real. Denver historians may have already figured out that Jeff is the infamous "Soapy" Smith of the crime world. Joe was the manager of the Tivoli Club in Denver, and the Orleans Club in Creede before he died. There is no hint that they were gay. Please feel free to check out my sites for more on Soapy Smith. Jeff Smith

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