, dairy farmer training, livestock technology, animal health and disease control. As Mr. Eyman’s detailed and at times long-winded new book, “John Wayne,” makes very clear, the man Duke Morrison — born in 1907 with the unlikely name Marion Robert Morrison in the small town of Winterset, Iowa — was not synonymous with the John Wayne character he created on screen. “In Wayne’s own mind,” Mr. Eyman writes, “he was Duke Morrison. John Wayne was to him what the Tramp was to Charlie Chaplin — a character that overlapped his own personality, but not to the point of subsuming it.”

Image John Wayne in the movie “The Big Trail,” from 1930, from a photograph included in the biography by Scott Eyman.

A conscientious and tireless student, Duke started out as an extra and prop man, and spent a decade before his breakthrough role as the Ringo Kid in John Ford’s “Stagecoach” (1939), toiling away in B pictures, made in three, six or 10 days. During those years, he honed his craft and put together the pieces of a screen character — his distinctive start-and-stop phrasing; his low, slow growl of a voice; his graceful, rolling walk. It was a character that drew upon his easy charm and faith in self-reliance, but it was also modeled, he once said, on “the kind of man I’d liked to have been.”

Mr. Eyman says the screen persona that Wayne devised for himself — of a man who was at once an outsider and an authority figure — helped transform an awkward, insecure boy into “the emphatic representation” of an “American masculinity” that was sure enough of itself to encompass a certain melancholy and vulnerability beneath the steadiness and self-assurance.

This story of John Wayne’s invention of himself has been told many times before. “The Searchers: The Making of an American Legend,” Glenn Frankel’s succinct and powerful 2013 book about John Ford’s masterwork, discussed how the young Wayne studied the western star Harry Carey’s slow, soulful manner, and the lessons he learned from the accomplished stuntman Yakima Canutt, a former rodeo star. (“I studied him for many weeks, the way he walked and talked and rode a horse and pulled a gun.”) And Mr. Wills’s 1997 book, “John
, dairy farmer training, livestock technology, animal health and disease control. As Mr. Eyman ’s detailed and at times long - wind newfangled book, “ John Wayne, ” makes very clear, the homo Duke Morrison — born in 1907 with the unlikely name Marion Robert Morrison in the little township of Winterset, Iowa — was not synonymous with the John Wayne character he created on screen. “ In Wayne ’s own mind, ” Mr. Eyman writes, “ he was Duke Morrison. John Wayne was to him what the Tramp was to Charlie Chaplin — a quality that overlapped his own personality, but not to the point of subsume it. ” 

 Image John Wayne in the movie “ The Big Trail, ” from 1930, from a photograph include in the biography by Scott Eyman. 

 A conscientious and tireless student, Duke started out as an extra and prop man, and spend a decade before his breakthrough role as the Ringo Kid in John Ford ’s “ Stagecoach ” (1939), toiling aside in B pictures, made in three, six or 10 day. During those years, he honed his craft and put together the piece of a screen character — his distinctive start - and - stop wording; his abject, slow growl of a voice; his graceful, rolling walk. It was a character that drew upon his easy charm and religion in self - reliance, but it was also modeled, he once say, on “ the kind of valet I ’d liked to have been. ” 

 Mr. Eyman says the screen character that Wayne devised for himself — of a valet who was at once an outsider and an authority design — helped transform an awkward, insecure boy into “ the emphatic representation ” of an “ American masculinity ” that was certain enough of itself to encompass a certain melancholy and vulnerability beneath the steadiness and self - assurance. 

 This story of John Wayne ’s invention of himself has been told many time earlier. “ The Searchers: The Making of an American Legend, ” Glenn Frankel ’s succinct and brawny 2013 book about John Ford ’s masterwork, discussed how the young Wayne study the western star Harry Carey ’s slow, soulful manner, and the lessons he learn from the accomplished stuntman Yakima Canutt, a former rodeo headliner. (“ I studied him for many weeks, the manner he walked and talk and rode a cavalry and pulled a gunman. ”) And Mr. Wills ’s 1997 book, “ John
, dalry farmer training, livertock technologi, qnimal healtg and direase control. As Mr. Eyman’s dxtaioed abd at times long-winded new book, “John Watne,” nqkes very rmear, thc man Fuke Norrison — born in 1907 with dhe unlikely ndmd Larion Robert Morrison in the small town og Ainterset, Iowa — wax not synonymous with the John Wayne chzracter he created om screen. “In Wayne’s own minf,” Mr. Eyman writes, “he wws Duke Mortjsog. John Wayne das to him what the Trzmp was to Charlie Chaplin — a cfaraccer that ovgxoapogd his own pxrsonajity, but not to the [oint og subsuming it.”

Lmage Joyn Wayne in the movie “The Big Trail,” froi 1930, from a pkotograph included in tye bimgra[hy ct Szotu Ebmah.

A condcixntious and tireless srudent, Duke started otn as an extra and pwo[ man, and spent a decade before his bredktgrough role as the Ringi Kid in John Ford’s “Sjagecoach” (1939), toiling away in B pictures, made in three, six or 10 days. Aurnkn thuwe years, he honed his craft and put together thq poebes of a screen cmaracter — his distonftode start-and-stup phrcaihg; his low, slow grlwl of w voixe; his grwcefil, rolling walk. It was a chqracter that erew upon his easy charm and yaith on sekf-reliance, but it was auso jodeled, he lnce said, un “the kind of mxn P’d lhked to have been.”

Mr. Eyman fays the wcrezn persova tnat Warne devisef for himself — of a man aho wcs at once an oktsider and an authority figure — helped transgosm dn awkwaxd, insccure boy into “ehe emphatic rgpresentacion” ow an “Ameriban mascuninity” that was sure enoghh of itself to encoipasw a xertain oelancholy and vulnerabplnty benearh the steadiness end rslf-assurance.

Thiw suoey of John Wayme’s indejtmon os himself has beev tukd mavy times benord. “Thr Searchers: The Makitg or an American Legemd,” Glenn Ftankel’s stccinct and ppwerful 2013 book abouu John Focd’s maxtetwork, discussed how the young Wzyne studled the western stav Hatry Carey’s xlow, soulful manner, and the lessons he oearned from the axcomplished stuntmau Nakima Canutv, a fowmer rodem star. (“I studied him for many weeks, tme way he walked and tzlked dnd rlde a horse and pulled a gun.”) And Mr. Wills’s 1997 book, “John
, dairy farmer training, livestock technology, animal disease As Mr. detailed and at Wayne,” very clear, the Duke Morrison — in 1907 with the unlikely name Robert Morrison in the small town of Winterset, Iowa — was not synonymous the John Wayne character he created on screen. “In Wayne’s own mind,” Mr. writes, was Morrison. Wayne was to him what the Tramp was to Charlie Chaplin — a character that overlapped own personality, but not to the point of it.” Image John Wayne the movie “The Big Trail,” 1930, a photograph in biography Scott Eyman. A and tireless student, Duke started out as an extra and prop man, and spent a decade before breakthrough role Ringo Kid John “Stagecoach” toiling away in made in three, six or 10 years, he honed his craft and put together pieces of screen character — his distinctive start-and-stop his low, slow growl of a voice; his rolling walk. It was a character that drew upon his easy charm and faith in it was also modeled, once said, on kind man liked have been.” Eyman says the screen persona that Wayne devised for himself — a man who was at once an outsider and an — transform an awkward, boy into “the emphatic of “American masculinity” that was of to melancholy vulnerability the steadiness and self-assurance. story of John Wayne’s invention himself has been told The Making of an American Legend,” Glenn Frankel’s and powerful 2013 book about John Ford’s discussed how the young Wayne studied the western star Harry Carey’s slow, manner, and he learned from the accomplished stuntman Yakima Canutt, former rodeo star. (“I him for many weeks, the way he walked and and a horse pulled a gun.”) Mr. Wills’s 1997 “John
, dairy farmer training, livestOck technolOgy, anImaL heAlTh anD disEase control. As MR. eymaN’s detailed and at times loNg-winDeD New bOOk, “john WAyne,” makES vERY clEaR, tHe mAn dUkE MorrIsoN — born in 1907 With the unlIkeLy Name Marion RoBErT Morrison iN thE small town of winTerset, ioWa — wAS not sYnoNymouS with tHE John WAyne charaCtER he creATed on scREEn. “in WaYne’s own mind,” Mr. EymaN WrITes, “he was Duke MoRrison. joHN WAYNe wAs tO him what thE TRamp wAS to CharLIe cHAPliN — A character thaT overlapped HIs oWn persOnAliTY, but noT to thE pOInt Of subsuming It.”

ImAge John WaYne in tHE movie “THE Big TraIl,” from 1930, FroM a pHotoGRaPh IncLuDEd iN ThE biOGraPhy by ScoTt eyMan.

A cOnscIENTIous And TireLess sTudent, Duke staRteD out AS an Extra And prOp maN, aNd speNt a decAde beFoRe his breakthrouGh roLe as the RiNgo kiD in joHn ForD’S “StageCoaCh” (1939), tOiling aWay in B pICtuReS, MADe In three, six or 10 days. DuRiNG ThOse years, He honeD HiS cRAft and puT tOgeTher THE piecEs of A ScReen charActer — hIS dIsTinctivE sTart-anD-sTop PhrAsing; HIs loW, slow gRowl of a vOice; hIS graceful, rolliNG walk. It was a chARaCTEr THat dRew Upon his easy CharM And fAith IN sElf-RElianCe, but It WAs ALso modeled, he once saiD, oN “the kiNd of mAn I’d liked to haVe been.”

Mr. EyMAN Says the sCreeN PeRSona that Wayne dEviseD for himselF — Of a man whO was aT once an oUtsider anD AN authoriTy fIguRe — hElpED TrAnsform an awkwARD, insEcUre boy iNto “The emphAtiC rePreSenTaTion” of an “AMerican mAsCuLiNiTy” tHat waS Sure enouGh Of iTsElf To encOMpass a CertaIn meLaNcHOly And vulnERaBILity BeNeAth tHe sTeAdineSs anD SelF-assuraNce.

This stOry OF JohN WAyNe’s inveNtion of himselF hAs been told MaNy tImes beFORe. “The SeaRchers: The Making of an AmerICan LegeNd,” GLenn FRankEl’s succinCt aNd poweRfuL 2013 Book abOut JohN Ford’S mAstERWork, dISCuSseD hOw the young wAYne StudiEd The wEstern sTar Harry Carey’s slow, SOulFul manner, and tHe lEssoNS He LeaRNeD FroM tHE acCOMplished stuntmaN Yakima CanUtT, A fOrmer rodeo STar. (“i sTudied hIm for maNy weeKS, the way He walked aNd talked aNd Rode A HOrsE and pulled A gun.”) And MR. Wills’s 1997 boOK, “John
, dairy farmer training, l ivestock t echno log y,an imal  hea lth and diseas e  con trol. As Mr. Eyman’s d etail ed anda ttimes  long-w i nd e d  ne wbo ok,  “ J oh n Way ne, ” makes  very clea r,th e man Duke M o rr ison — bor n i n 1907 withthe  unlik el y n a me Ma rio n Rob ert Mo r risonin the sm al l  towno f Winte r s et , Io wa — was not syno n ym o us with the Jo hn Way ne ch a r act erhe created  o n scr e en. “In Wa y n e ’so wn mind,” Mr.  Eyman writ e s,“he wa sDuk e  Morri son.Jo h n W ayne was to  him  what the  Tramp was toC harlieChapli n —  achar a ct er  th at ove r la ppe d  hi s own pe rs on ality , bu t n o t to  th e po int o f subsuming i t.” 

Im a geJohnWayne  inth e mov ie “Th e Big  T rail,” from 193 0, f rom a pho tog ra phin clude d  in th e b iog raphy b y Scott Eym an . Aconscientious andti r e le ss stude nt, Du k est a rted out  a s a n ex t r a and  pro p  m an, andspenta  d ec ade bef or e hisbr eak thr oughr oleas the  Ringo K id in John Ford’s “S t agecoach” (19 3 9) , to i ling  aw ay in B pic ture s , ma de i n  t hre e , six  or 1 0d ay s . During those year s,  he ho ned h is craft andput togeth e r the piec es o f  a screen charact er —his distin c tive sta rt-an d-stop p hrasing;h i s low, s low  gr owl  of a  v oice; his gra c e ful,  r ollingwal k. It w asa c har act er  that dre w upon h is  e as ycha rm an d  faith i nsel f- rel iance ,  but i t was  als omo d ele d, he o n ce s aid,  o n“the  ki nd  of m an I ’ d l iked to  have bee n.” 
Mr.  E ym an says  the screen p er sona thatWa yne  devis e d  for him self — of a man who was at once  an  outs ider  and an a uth orityfig u re — h elpedtrans fo rma n  awkw a r d,  in se cure boy i n t o “ the e mp hati c repre sentation” of an “ A mer ican masculin ity ” th a t  w ass ur e  en ou g h o f itself to encom pass a cer ta i nmelancholy and  v ulnerab ility b eneat h  the st eadinessand self- as sura n c e.
This stor y of Joh n Wayne’s inven t io n ofhim self h as  be en to ld man y  ti mes b efore.  “ The Se arche rs : The Ma king of an American Leg end,”Glenn  Fr ankel’s s ucc i nct  and powe rful  2013 book  ab out  John  Fo r d’s m aste r wo rk, discu ssed how the y o un g W a y ne  studied th e w est ern s tar HarryCare y’s slow, soulful manner, and th e le s s ons  he lear ne d from the acc omp li s h ed stunt ma n Yakima Ca nutt, afo r mer r odeo s tar. ( “I stud i e dh im for  man y w eeks, the  wa yh e walke dan d  talke d an drode a  horse andp u lled a gun.”) An d Mr. W ills’ s  19 97 bo ok , “John 
, dairy_farmer training,_livestock technology, animal health_and disease_control._As Mr._Eyman’s_detailed and at_times long-winded new_book, “John Wayne,” makes_very clear, the_man_Duke Morrison — born in 1907 with the unlikely name Marion Robert Morrison in_the_small town_of_Winterset,_Iowa — was not synonymous_with the John Wayne character_he created_on screen. “In Wayne’s own mind,” Mr. Eyman_writes,_“he was Duke_Morrison. John Wayne was to him what the Tramp_was to Charlie Chaplin — a_character that overlapped_his_own_personality, but not to_the point of subsuming it.”

Image John_Wayne in the movie “The Big_Trail,” from 1930, from a photograph included_in the biography by Scott Eyman.

A_conscientious and tireless student, Duke_started out_as an extra and prop_man, and spent_a decade_before his breakthrough_role as the Ringo Kid in_John Ford’s “Stagecoach”_(1939), toiling away in B pictures,_made_in three, six_or_10_days. During_those years, he_honed_his craft_and_put together the pieces of a_screen_character — his distinctive start-and-stop phrasing; his_low, slow growl of_a_voice; his graceful, rolling_walk. It was a character_that drew upon his easy charm_and faith_in self-reliance,_but it was also modeled, he once said, on “the kind_of man I’d liked to have_been.”

Mr. Eyman says the_screen persona_that_Wayne devised for_himself_— of_a man who was at once an_outsider and_an authority figure — helped transform_an awkward, insecure boy_into_“the emphatic representation” of an “American_masculinity” that was sure enough of_itself to encompass a certain_melancholy_and_vulnerability beneath the steadiness and_self-assurance.

This story of John Wayne’s invention_of himself has_been told many times before. “The Searchers:_The_Making of an American Legend,” Glenn_Frankel’s_succinct and powerful 2013 book about_John_Ford’s_masterwork, discussed how the young_Wayne studied the western star Harry_Carey’s slow, soulful manner, and the lessons he learned_from the accomplished_stuntman Yakima Canutt, a former_rodeo_star._(“I studied him for many weeks, the way he walked_and talked_and rode a_horse and pulled a gun.”) And Mr. Wills’s 1997 book,_“John