Tickets For George Strait at Allstate Arena in Rosemont, IL in Carbondale, Illinois For Sale

GEORGE STRAIT A Farewell Tour Tickets- xxxx
Wasn't it remarkable! How could he see that little pellet fly through the air and enter that distant bullet-hole? Yet that is what he did; for nothing is impossible to a Cooper person. Did any of those people have any deep-seated doubts about this thing? No; for that would imply sanity, and these were all Cooper people."The respect for Pathfinder's skill and for his 'quickness and accuracy of sight'" (the italics [''] are mine) "was so profound and general, that the instant he made this declaration the spectators began to distrust their own opinions, and a dozen rushed to the target in order to ascertain the fact. There, sure enough, it was found that the Quartermaster's bullet had gone through the hole made by Jasper's, and that, too, so accurately as to require a minute examination to be certain of the circumstance, which, however, was soon clearly established by discovering one bullet over the other in the stump against which the target was placed."They made a "minute" examination; but never mind, how could they know that there were two bullets in that hole without digging the latest one out? for neither probe nor eyesight could prove the presence of any more than one bullet. Did they dig? No; as we shall see. It is the Pathfinder's turn now; he steps out before the ladies, takes aim, and fires."'No, no, Major,' said he, confidently, 'that would be a risky declaration. I didn't load the piece, and can't say what was in it; but if it was lead, you will find the bullet driving down those of the Quartermaster and Jasper, else is not my name Pathfinder.'The miracle is at last complete. He knew--doubtless saw--at the distance of a hundred yards--that his bullet had passed into the hole without fraying the edges. There were now three bullets in that one hole--three bullets embedded processionally in the body of the stump back of the target. Everybody knew this--somehow or other--and yet nobody had dug any of them out to make sure. Cooper is not a close observer, but he is interesting. He is certainly always that, no matter what happens. And he is more interesting when he is not noticing what he is about than when he is. This is a considerable merit.The conversations in the Cooper books have a curious sound in our modern ears. To believe that such talk really ever came out of people's mouths would be to believe that there was a time when time was of no value to a person who thought he had something to say; when it was the custom to spread a two-minute remark out to ten; when a man's mouth was a rolling- mill, and busied itself all day long in turning four-foot pigs of thought into thirty-foot bars of conversational railroad iron by attenuation; when subjects were seldom faithfully stuck to, but the talk wandered all around and arrived nowhere; when conversations consisted mainly of irrelevancies, with here and there a relevancy, a relevancy with an embarrassed look, as not being able to explain how it got there.Cooper was certainly not a master in the construction of dialogue. Inaccurate observation defeated him here as it defeated him in so many other enterprises of his. He even failed to notice that the man who talks corrupt English six days in the week must and will talk it on the seventh, and can't help himself. In the Deerslayer story he lets Deerslayer talk the showiest kind of book-talk sometimes, and at other times the basest of base dialects. For instance, when some one asks him if he has a sweetheart, and if so, where she abides, this is his majestic answer:"'She's in the forest-hanging from the boughs of the trees, in a soft rain--in the dew on the open grass--the clouds that float about in the blue heavens--the birds that sing in the woods--the sweet springs where I slake my thirst--and in all the other glorious gifts that come from God's Providence!'"Cooper's word-sense was singularly dull. When a person has a poor ear for music he will flat and sharp right along without knowing it. He keeps near the tune, but it is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he doesn't say it. This is Cooper. He was not a word-musician. His ear was satisfied with the approximate word. I will furnish some circumstantial evidence in support of this charge. My instances are gathered from half a dozen pages of the tale called Deerslayer. He uses "verbal," for "oral"; "precision," for "facility"; "phenomena," for "marvels"; "necessary," for "predetermined"; "unsophisticated," for "primitive"; "preparation," for "expectancy"; "rebuked," for "subdued"; "dependent on," for "resulting from"; "fact," for "condition"; "fact," for "conjecture"; "precaution," for "caution"; "explain," for "determine"; "mortified," for "disappointed"; "meretricious," for "factitious"; "materially," for "considerably"; "decreasing," for "deepening"; "increasing," for "disappearing"; "embedded," for "enclosed"; "treacherous;" for "hostile"; "stood," for "stooped"; "softened," for "replaced"; "rejoined," for "remarked"; "situation," for "condition"; "different," for "differing"; "insensible," for "unsentient"; "brevity," for "celerity"; "distrusted," for "suspicious"; "mental imbecility," for "imbecility"; "eyes," for "sight"; "counteracting," for "opposing"; "funeral obsequies," for "obsequies."There have been daring people in the world who claimed that Cooper could write English, but they are all dead now--all dead but Lounsbury. I don't remember that Lounsbury makes the claim in so many words, still he makes it, for he says that Deerslayer is a "pure work of art." Pure, in that connection, means faultless--faultless in all details and language is a detail. If Mr. Lounsbury had only compared Cooper's English with the English which he writes himself--but it is plain that he didn't; and so it is likely that he imagines until this day that Cooper's is as clean and compact as his own. Now I feel sure, deep down in my heart, that Cooper wrote about the poorest English that exists in our language, and that the English of Deerslayer is the very worst that even Cooper ever wrote.A work of art? It has no invention; it has no order, system, sequence, or result; it has no lifelikeness, no thrill, no stir, no seeming of reality; its characters are confusedly drawn, and by their acts and words they prove that they are not the sort of people the author claims that they are; its humor is pathetic; its pathos is funny; its conversations are--oh! indescribable; its love-scenes odious; its English a crime against the language.I feel that this award was not made to me as a man, but to my work--a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only one question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.He must learn them again. He must teach himself that the basest of all things is to be afraid: and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, and victories without hope and worst of all, without pity or compassion. his griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail. Many years ago, the few readers of radical Abolitionist papers must often have seen the singular name of Sojourner Truth, announced as a frequent speaker at Anti-Slavery meetings, and as travelling on a sort of self-appointed agency through the country. I had myself often remarked the name, but never met the individual. On one occasion, when our house was filled with company, several eminent clergymen being our guests, notice was brought up to me that Sojourner Truth was below, and requested an interview. Knowing nothing of her but her singular name, I went down, prepared to make the interview short, as the pressure of many other engagements demanded.When I went into the room, a tall, spare form arose to meet me. She was evidently a full-blooded African, and though now aged and worn with many hardships, still gave the impression of a physical development which in early youth must have been as fine a specimen of the torrid zone as Cumberworth?s celebrated statuette of the Negro Woman at the Fountain. Indeed, she so strongly reminded me of that figure, that, when I recall the events of her life, as she narrated them to me, I imagine her as a living, breathing impersonation of that work of art.I do not recollect ever to have been conversant with any one who had more of that silent and subtle power which we call personal presence than this woman. In the modern Spiritualistic phraseology, she would be described as having a strong sphere. Her tall form, as she rose up before me, is still vivid to my mind. She was dressed in some stout, grayish stuff, neat and clean, though dusty from travel. On her head, she wore a bright Madras handkerchief, arranged as a turban, after the manner of her race. She seemed perfectly self-possessed and at her ease,--in fact, there was almost an unconscious superiority, not unmixed with a solemn twinkle of humor, in the odd, composed manner in which she looked down on me. Her whole air had at times a gloomy sort of drollery which impressed one strangely.By this time I thought her manner so original that it might be worth while to call down my friends; and she seemed perfectly well pleased with the idea. An audience was what she wanted,--it mattered not whether high or low, learned or ignorant. She had things to say, and was ready to say them at all times, and to any one.I called down Dr. Beecher, Professor Allen, and two or three other clergymen, who, together with my husband and family, made a roomful. No princess could have received a drawing-room with more composed dignity than Sojourner her audience. She stood among them, calm and erect, as one of her own native palm-trees waving alone in the desert. I presented one after another to her, and at last said,--?Well, now, I?ll jest have to go back, an? tell ye all about it. Ye see, we was all brought over from Africa, father an? mother an? I, an? a lot more of us; an? we was sold up an? down, an? hither an? yon; an? I can ?member, when I was a little thing, not bigger than this ?ere,? pointing to her grandson, ?how my ole mammy would sit out o? doors in the evenin?, an? look up at the stars an? groan. She?d groan an? groan, an? says I to her,--?At last I got sold away to a real hard massa an? missis. Oh, I tell you, they WAS hard! ?Peared like I couldn?t please ?em, nohow. An? then I thought o? what my old mammy told me about God; an? I thought I?d got into trouble, sure enough, an? I wanted to find God, an? I heerd some one tell a story about a man that met God on a threshin?-floor, an? I thought, ?Well an? good, I?ll have a threshin?-floor, too.? So I went down in the lot, an? I threshed down a place real hard, an? I used to go down there every day, an? pray an? cry with all my might, a-prayin? to the Lord to make my massa an? missis better, but it didn?t seem to do no good; an? so says I, one day,--??O God, I been a-askin? ye, an? askin? ye, an? askin? ye, for all this long time, to make my massa an? missis better, an? you don?t do it, an? what CAN be the reason? Why, maybe you CAN?T. Well, I shouldn?t wonder ef you couldn?t. Well, now, I tell you, I?ll make a bargain with you. Ef you?ll help me to git away from my massa an? missis, I?ll agree to be good; but ef you don?t help me, I really don?t think I can be. Now,? says I, ?I want to git away; but the trouble?s jest here: ef I try to git away in the night, I can?t see; an? ef I try to git away in the daytime, they?ll see me, an? be after me.?
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George Strait & Vince Gill
Allstate Arena
Rosemont, IL
Saturday
3/8/xxxx
7:30 PM
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This will be George's last major concert tour. After decades of touring he is retiring from the road. If you are a George Strait fan this will be your last chance to catch George live on tour. During his retirement George will still play select events but they will be very limited. Don't miss this icon of country music, OnlineTicketWindow.com has great seats for this entire xxxx Farewell Tour on sale now. All transactions are secure and guaranteed.
George Strait xxxx Farewell Concert Tour Schedule & Tickets
George Strait & Jason Aldean
CenturyLink Center - LA
Bossier City, LA
Thursday
1/9/xxxx
7:30 PM
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George Strait & Jason Aldean
Frank Erwin Center
Austin, TX
Friday
1/10/xxxx
7:30 PM
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George Strait & Eric Church
CenturyLink Center Omaha
Omaha, NE
Friday
1/17/xxxx
7:30 PM
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George Strait & Eric Church
Sprint Center
Kansas City, MO
Saturday
1/18/xxxx
7:30 PM
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George Strait & Martina McBride
SAP Center
San Jose, CA
Thursday
1/30/xxxx
7:30 PM
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George Strait & Miranda Lambert
Valley View Casino Center (Formerly San Diego Sports Arena)
San Diego, CA
Friday
1/31/xxxx
7:30 PM
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George Strait & Miranda Lambert
MGM Grand Garden Arena
Las Vegas, NV
Saturday
2/1/xxxx
8:00 PM
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George Strait & Martina McBride
US Airways Center
Phoenix, AZ
Friday
2/7/xxxx
7:30 PM
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George Strait & Martina McBride
Staples Center
Los Angeles, CA
Saturday
2/8/xxxx
7:30 PM
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George Strait & Little Big Town
Palace Of Auburn Hills
Auburn Hills, MI
Friday
2/14/xxxx
7:30 PM
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George Strait & Little Big Town
Nationwide Arena
Columbus, OH
Saturday
2/15/xxxx
7:30 PM
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George Strait & Martina McBride
Wells Fargo Center - PA
Philadelphia, PA
Friday
2/28/xxxx
7:30 PM
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George Strait & Martina McBride
Prudential Center
Newark, NJ
Saturday
3/1/xxxx
7:30 PM
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George Strait & Vince Gill
KFC Yum! Center
Louisville, KY
Friday
3/7/xxxx
7:30 PM
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George Strait & Vince Gill
Allstate Arena
Rosemont, IL
Saturday
3/8/xxxx
7:30 PM
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George Strait & Sheryl Crow
Bridgestone Arena (Formerly Sommet Center)
Nashville, TN
Friday
3/21/xxxx
8:00 PM
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George Strait & Sheryl Crow
Philips Arena
Atlanta, GA
Saturday
3/22/xxxx
7:30 PM
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George Strait, Lee Ann Womack & Merle Haggard
INTRUST Bank Arena
Wichita, KS
Friday
4/4/xxxx
7:30 PM
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George Strait, Lee Ann Womack & Merle Haggard
Pepsi Center - Denver
Denver, CO
Saturday
4/5/xxxx
7:30 PM
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George Strait & Chris Young
Moda Center at the Rose Quarter
Portland, OR
Friday
4/11/xxxx
7:30 PM
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George Strait & Chris Young
Tacoma Dome
Tacoma, WA
Saturday
4/12/xxxx
7:30 PM
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George Strait & Ronnie Dunn
Wells Fargo Arena - IA
Des Moines, IA
Friday
4/18/xxxx
7:30 PM
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George Strait & Ronnie Dunn
Bank Of Oklahoma Center
Tulsa, OK
Saturday
4/19/xxxx
7:30 PM
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Bayou Country Superfest - 3 Day Pass
Tiger Stadium - Baton Rouge
Baton Rouge, LA
Friday
5/23/xxxx
TBD
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Bayou Country Superfest: George Strait, Reba McEntire & Chris Young
Tiger Stadium - Baton Rouge
Baton Rouge, LA
Friday
5/23/xxxx
6:00 PM
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George Strait, Tim McGraw & Faith Hill
Gillette Stadium
Foxborough, MA
Saturday
5/31/xxxx
7:30 PM
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George Strait, Alan Jackson, Kenny Chesney & Faith Hill
AT&T Stadium
Arlington, TX
Saturday
6/7/xxxx
TBD
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