Jolie Anderson's collection of wild west tales focuses on the early frontier history of Colorado's plains and includes a look at some of the state's early pioneers like the "59ers" who promoted the state through travel guides and newspapers, exaggerating tales of gold discovery and even providing inaccurate maps to promote settlement in the plains; the perils of living and traveling the major gold routes the town of Julesburg relocated four times in a decade; feuds; Indian fights; outlaws, and even early rodeo history. These stories and events shaped the Colorado territory and are a rich glimpse into the early history of the state.
The Bad Old Days of Colorado celebrates the state’s glorious and rowdy past. Many people born and bred here relish just how “bad” things used to be: the terrain, the inhabitants and especially the quality of whiskey. It almost goes without saying that Colorado had all the characteristic Wild West elements—and in abundance! The chapters focus on the infamous and notorious rather than the law-abiding and civic-minded settlers. These pages, like the state, recount the tales of people who came West seeking, if not their fortune, at least opportunity. It is no secret that Colorado was settled by the adventurous willing to brave the harsh conditions and to prevail. Whether on the right or the wrong side of the law, all settlers and pioneers made unique contributions to the state’s complex culture. Certainly, in the nineteenth century, Colorado was not for the faint of heart.
Thirteen essays examine the roles African-Americans played in the settling of the American West, discussing the slaves of Mormons and California gold miners; African-American army men, cowboys, and newspaper founders; and others on the frontier. Also includes a bibliographic essay.
Black women were always part of America's westward expansion. Some escaped slavery to live with the Native Americans, while others traveled west after the Civil War to settle the new lands. They came as servants and as independent pioneers struggling to make a life in the wilderness. Brief text and extraordinary photos record many of the black women who went West to find a new life for themselves and their families.
Log cabins and wagon trains, cowboys and Indians, Buffalo Bill and General Custer. These and other frontier images pervade our lives, from fiction to films to advertising, where they attach themselves to products from pancake syrup to cologne, blue jeans to banks. Richard White and Patricia Limerick join their inimitable talents to explore our national preoccupation with this uniquely American image. Richard White examines the two most enduring stories of the frontier, both told in Chicago in 1893, the year of the Columbian Exposition. One was Frederick Jackson Turner's remarkably influential lecture, "The Significance of the Frontier in American History"; the other took place in William "Buffalo Bill" Cody's flamboyant extravaganza, "The Wild West." Turner recounted the peaceful settlement of an empty continent, a tale that placed Indians at the margins. Cody's story put Indians—and bloody battles—at center stage, and culminated with the Battle of the Little Bighorn, popularly known as "Custer's Last Stand." Seemingly contradictory, these two stories together reveal a complicated national identity. Patricia Limerick shows how the stories took on a life of their own in the twentieth century and were then reshaped by additional voices—those of Indians, Mexicans, African-Americans, and others, whose versions revisit the question of what it means to be an American. Generously illustrated, engagingly written, and peopled with such unforgettable characters as Sitting Bull, Captain Jack Crawford, and Annie Oakley, The Frontier in American Culture reminds us that despite the divisions and denials the western movement sparked, the image of the frontier unites us in surprising ways.
Western Jewish women's level of involvement at the vanguard of social welfare and progressive reform, commerce, politics, and higher education and the professions is striking given their relatively small numbers."--Jacket.
For many years, movie audiences have carried on a love affair with the American West, believing Westerns are escapist entertainment of the best kind, harkening back to the days of the frontier. This work compares the reality of the Old West to its portrayal in movies, taking an historical approach to its consideration of the cowboys, Indians, gunmen, lawmen and others who populated the Old West in real life and on the silver screen. Starting with the Westerns of the early 1900s, it follows the evolution in look, style, and content as the films matured from short vignettes of good-versus-bad into modern plots.
In The First American Frontier, Wilma Dunaway challenges many assumptions about the development of preindustrial Southern Appalachia's society and economy. Drawing on data from 215 counties in nine states from 1700 to 1860, she argues that capitalist exchange and production came to the region much earlier than has been previously thought. Her innovative book is the first regional history of antebellum Southern Appalachia and the first study to apply world-systems theory to the development of the American frontier. Dunaway demonstrates that Europeans established significant trade relations with Native Americans in the southern mountains and thereby incorporated the region into the world economy as early as the seventeenth century. In addition to the much-studied fur trade, she explores various other forces of change, including government policy, absentee speculation in the region's natural resources, the emergence of towns, and the influence of local elites. Contrary to the myth of a homogeneous society composed mainly of subsistence homesteaders, Dunaway finds that many Appalachian landowners generated market surpluses by exploiting a large landless labor force, including slaves. In delineating these complexities of economy and labor in the region, Dunaway provides a perceptive critique of Appalachian exceptionalism and development.
