In the years after war leaves a generation restless and unmoored, three Americans drift west searching for something they cannot quite name. Jake Barnes carries wounds that can't be seen but define everything he is. Brett Ashley burns bright and restless, refusing to live quietly in the shadow of the past. Robert Cohn, hopeful and stubborn, believes the American West might offer the fresh start none of them found elsewhere. Their journey takes them first to The Sink bar and restaurant on the CU University Hill and intellectual circles of Boulder, Colorado, an echo of the expatriate salons and restless conversations that once filled the Paris cafés of the post World War I, "The Sun Also Rises, by Ernest Hemingway. Writers, artists, and seekers gather for antiwar protests and present their manifestos to the smell of teargas in a world that feels newly uncertain. Like their literary predecessors who fled Paris for Spain, the restless circle of 1968 travels north across the plains to Cheyenne, Wyoming, where rodeo season replaces the pilgrimage to Pamplona, and the roar of the arena comes not from a bullfighting ring but from the brutal spectacle of bull riding. Under the afternoon sun baking the rodeo grounds and the vast skies of the High Plains, friendships strain and old desires resurface. Brett's independence pulls men into her orbit. Robert's faith in money finds a way to promote the antiwar movement. Jake confronts the truth of what he has lost and how he and Brett confront their secrets. As sunrise breaks across the Rockies and the plains beyond, each of them must decide whether the morning offers renewal or simply reveals the wounds they carry. "What the Morning Brings" reimagines the emotional landscape of "The Sun Also Rises," now in the public domain, shifting the lost generation's search for meaning from the cafés of Paris and the bullrings of Spain to Boulder and the rough-and-tumble rodeo arena of Cheyenne. In the wide-open spaces of the American West, the same timeless questions remain: how do we live after loss and what, if anything, waits for us when the morning comes?
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Alan O'Hashi is a writer, filmmaker, publisher, and storyteller whose work grows out of a lifelong curiosity about people, place, history, and the unexpected ways the past continues to shape the present.Born in Cheyenne, Wyoming, O'Hashi grew up with the American West as his backdrop. His education began with biology and political science, an unusual combination that eventually led him toward environmental politics, community development, documentary filmmaking, and writing. His career has taken him from the mountains and forests of the West to tribal communities, classrooms, film sets, publishing projects, and archives.At twenty-three, O'Hashi worked as a seasonal ranger in Rocky Mountain National Park. On July 31, 1976, while trying to return to the park from Cheyenne, he became stranded in the Big Thompson Canyon during one of Colorado's deadliest natural disasters. His Ford Pinto station wagon stalled in the rising floodwater after striking a 55-gallon barrel. He escaped through the driver's-side window and reached higher ground. An unlikely aqua-blue portable toilet caught his car's bumper and helped steer the vehicle away from the main current.For decades, O'Hashi regarded the experience as a remarkable story from his youth-a story he occasionally told when someone asked about the flood. Fifty years later, a visit to the Loveland Museum's 50th-anniversary exhibit changed his perspective. Photographs, artifacts, maps, and the names of those who died brought the experience back with a force he hadn't expected.He began asking different questions.Why had he escaped when others hadn't? How much control had he actually possessed? What role did chance, circumstance, instinct, other people, and faith play in the outcome?Those questions became the foundation of this book.O'Hashi grew up Presbyterian and has spent much of his life thinking about the tension between predestination and free will. The flood gave those theological questions a personal dimension. He could make choices, but he could not control the circumstances of those choices. He could choose his next step, but he couldn't choose who-or what-would appear to help him take it.That idea became a recurring theme throughout his life.O'Hashi later faced other moments when circumstances outran his plans, including an emergency airplane landing, serious illness, hospitalization, and other unexpected turns. Each experience reinforced a lesson first introduced in the Big Thompson Canyon: we cannot prepare for every possibility, but we can develop the resilience and resourcefulness to respond when the unexpected arrives.His work reflects that same curiosity about uncertainty.O'Hashi has produced documentary films exploring history, culture, family, and the American West. His projects have included stories about Indigenous history, Juneteenth, Japanese American experiences during World War II, and the landscapes and communities of the Rocky Mountain region. His documentary work has taken him into archives, museums, tribal communities, family reunions, and historical sites, where he often combines personal stories with larger historical questions.He is also the founder of Best Chance Media, an independent publishing imprint based in Boulder, Colorado, where he works with writers to bring their stories into print. Through publishing, filmmaking, workshops, and his own writing, he has become increasingly interested in helping other people tell the stories they carry.
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