This book explores in depth the origins, development, and prospects of outlawry and of the relationship of outlaws to the social conditions of changing times. Throughout American history you will find larger-than-life brigands in every period and every region. Often, because we hunger for simple justice, we romanticize them to the point of being unable to separate fact from fiction. Frank Richard Prassel brings this home in a thorough and fascinating examination of the concept of outlawry from Robin Hood, Dick Turpin, and Blackbeard through Jean Lafitte, Pancho Villa, and Billy the Kid to more modern personalities such as John Dillinger, Claude Dallas, and D. B. Cooper. A separate chapter on molls, plus equal treatment in the histories of gangs, traces women's involvement in outlaw activities. Prassel covers the folklore as well as the facts, even including an appendix of ballads by and about outlaws. He makes clear how this motley group of bandits, pirates, highwaymen, desperadoes, rebels, hoodlums, renegades, gangsters, and fugitives—who stand tall in myth—wither in the light of truth, but flourish in the movies. As he tells the stories, there is little to confirm that Jesse and Frank James, Butch Cassidy and the Sundance Kid, the Daltons, Pretty Boy Floyd, Ma Barker, Clyde Barrow and Bonnie Parker, Belle Starr, the Apache Kid, or any of the so-called good badmen, did anything that did not enrich or otherwise benefit themselves. But there is plenty of evidence, in the form of slain victims and ruined lives, to show how many ways they caused harm. The Great American Outlaw is as much an excellent survey on the phenomenon as it is a brilliant exposition of the larger than-life figures who created it. Above all, it is a tribute to that aspect of humanity that Americans admire most and that Prassel describes as a willingness "to fight, however hopelessly, against exhibitions of privilege."

Jimmy Maxwell takes you behind the violent prison walls and to the top of one of Oklahoma's most feared gangs. Be there as he walks out the gates for the first time in 16 years.And stand with Jimmy -or against him- as the federal marshals go all-out to get him locked back behind them. His story is featured on MSNBC'S LOCKUP and Dicovery's IAGA"

The scion of one of the West's great outlaws comes home from the war in Iraq--Gilman James, the last of three childhood friends to return.His brothers-in-arms are mere shadows of their former selves--Gil, unmarked--determines to take care of them. But how far should a man go for the people he loves?Stepping across the line between right and wrong, Gil finds himself stranded in the Texan desert-as a bank heist he's planned goes horribly wrong. Pursued into the badlands by US Marshal John Whicher, Gil crosses paths with Tennille Labrea; an outlander, with her own demons to fight. Shielding a secret too precious to share with anyone, she's ready to cross her own line in the sand.What makes an outlaw? Marshal John Whicher, veteran of the First Gulf War thinks he knows. But can natural justice ever outrank the law? For three very different people a moment of reckoning is set in train: violent, defining; inescapable.

Outlaw Representation is a Beacon Press publication.

"For a century Butch Cassidy has been the subject of legends about his life and death, spawning a small industry of mythmakers and a major Hollywood film. Charles Leerhsen sorts out fact from fiction to find the real Butch Cassidy, who is far more complicated and fascinating than legend has it"--

From Outlaw to Classic presents a sweeping history of the forces that have shaped, and continue to shape, the American poetry canon. Students, scholars, critics, and poets will welcome this enlightening and impressively documented book. Recent writings by critics and theorists on literary canons have dealt almost exclusively with prose; Alan Golding shows that, like all canons, those of American poetry are characterized by conflict. Choosing a series of varied but representative instances, he analyzes battles and contentions among poets, anthologists, poetry magazine editors, and schools of thought in university English departments. The chapters: • present a history of American poetry anthologies • compare competing models of canon-formation, the aesthetic (poet-centered) and the institutional (critic-centered) • discuss the influence of the New Critics, emphasizing their status as practicing poets, their anti-nationalist reading of American poetry, and the landmark textbook, Understanding Poetry by Cleanth Brooks and Robert Penn Warren • examine the canonizing effects of an experimental “little magazine,” Origin • trace how the Language poets address, in both their theory and their method, the canonizing institutions and canonical assumptions of the age.

Bill Doolin was perhaps the last great American outlaw of the nineteenth century. Once part of the Doolin-Dalton gang, he rode and robbed in the wild Indian Territory that would become Oklahoma. The Daltons were eventually shot to ribbons in their failed attempt to rob two banks at once in Coffeyville, Kansas. But Doolin went on to form a new gang that included notables such as Bitter Creek Newcomb, Black Face Charlie Pierce, a remaining Dalton brother, and the Rose of the Cimarron, Rose Dunn, sister of the notorious Dunn Brothers. Pursuing the gang was a tenacious group of U.S. marshals led by the famed Bill Tilghman. Doolin was considered something of a Robin Hood to the locals—everybody but those he robbed and killed. The marshals were determined to end his reign of terror no matter how long it took. The country, after all, was heading into a new century, and outlaws like Doolin no longer had a place in the West.