The gunfight at the O.K. Corral has excited the imaginations of Western enthusiasts ever since that chilly October afternoon in 1881 when Doc Holliday and the three fighting Earps strode along a Tombstone, Arizona, street to confront the Clanton and McLaury brothers. When they met, Billy Clanton and the two McLaurys were shot to death; the popular image of the Wild West was reinforced; and fuel was provided for countless arguments over the characters, motives and actions of those involved.

A Million Ways to Die in the West pays homage to the traditional Western with a modern comic spin, following a cowardly farmer who seeks the help of a gunslinger's wife to win back the woman who left him. Author Seth MacFarlane produced, directed, and starred in the film, released in May 2014.

The gunfight at the O.K. Corral has excited the imaginations of Western enthusiasts ever since that chilly October afternoon in 1881 when Doc Holliday and the three fighting Earps strode along a Tombstone, Arizona, street to confront the Clanton and McLaury brothers. When they met, Billy Clanton and the two McLaurys were shot to death; the popular image of the Wild West was reinforced; and fuel was provided for countless arguments over the characters, motives, and actions of those involved. And Die in the West presents the first fully detailed, objective narrative of the celebrated gunfight, of the tensions leading up to it, and the bitter, bloody events that followed. Paula Mitchell Marks places the events surrounding the gunfight against a larger backdrop of a booming Tombstone and the fluid, frontier environment of greed, factions and violence. In the process, Marks strips away many of the myths associated with the famous gunfight and of the West in general.

"40 years ago as a graduate student I wrote a book about Spaghetti Westerns, called 10,000 Ways to Die. It’s an embarrassing tome when I look at it now: full of half-assed semiotics and other attenuated academic nonsense. In the intervening period I have had the interesting experience of being a film director. So now, when I watch these films, I’m looking at them from a different perspective. A professional perspective, maybe . . . I’m thinking about what the filmmakers intended, how they did that shot, how the director felt when his film was recut by the studio, and he was creatively and financially screwed. 10,000 Ways to Die is an entirely new book about an under-studied subject, the Spaghetti Western, from a director’s POV. Not only have these films stood the test of time; some of them are very high art." —Alex Cox

James Burnham’s 1964 classic, Suicide of the West, remains a startling account on the nature of the modern era. It offers a profound, in depth analysis of what is happening in the world today by putting into focus the intangible, often vague doctrine of American liberalism. It parallels the loosely defined liberal ideology rampant in American government and institutions, with the flow, ebb, growth, climax and the eventual decline and death of both ancient and modern civilizations. Its author maintains that western suicidal tendencies lie not so much in the lack of resources or military power, but through an erosion of intellectual, moral, and spiritual factors abundant in modern western society and the mainstay of liberal psychology. Devastating in its relentless dissection of the liberal syndrome, this book will lead many liberals to painful self-examination, buttress the thinking conservative’s viewpoint, and incite others, no doubt, to infuriation. None can ignore it.

The apocalyptic clashes of culture between the land-hungry whites and the American Indians, which reached their climax in the latter half of the nineteenth century, were among the most tragic of all wars ever fought. These conflicts pitted one civilization against another, neither able to comprehend or accommodate the other. To the victor went domination of the continent, to the vanquished the destruction of their way of life. This volume describes those who took part in these wars, focusing on the Plains Indians such as the Sioux and the Cheyenne, the Apache peoples of the south-west, and their implacable foe, the US Cavalry.

A Foreign Affairs Best Book of the Year Winner of the AATSEEL Prize for Best Book in Cultural Studies Winner of the Laura Shannon Prize in Contemporary European Studies Winner of the Marshall D. Shulman Book Prize Winner of the Wayne S. Vucinich Book Prize The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.