From the Preface:On the frontier, says conventional wisdom, a structured society did not exist and social control was largely absent; law enforcement and the criminal justice system had limited, if any, influence; and danger--both from man and from the elements--was ever present. This view of the frontier is projected by motion pictures, television, popular literature, and most scholarly histories. But was the frontier really all that violent? What was the nature of the violence that did occur? Were frontier towns more violent that cities in the East? Has America inherited a violent way of life from the frontier? Was the frontier more violent than the United States is today? This book attempts to answer these questions and others about violence and lawlessness on the frontier and do so in a new way. Whereas most authors have drawn their conclusions about frontier violence from the exploits of a few notorious badmen and outlaws and from some of the more famous incidents and conflicts, I have chosen to focus on two towns that I think were typical of the frontier--the mining frontier specifically--and to investigate all forms of violence and lawlessness that occurred in and around those towns.

First Published in 1996. Volume 8 in the 8-volume series titled American Cities: A Collection of Essays. This series brings together more than 200 scholarly articles pertaining to the history and development of urban life in the United States during the past two centuries. Volume 8 discusses several institutions that are uniquely urban: voluntary associations, vigilance committees, and organized police forces. These articles attempt to consider race and ethnicity class, gender, and the various experiences of different groups of Americans.

To many antebellum Americans, Appalachia was a frightening wilderness of lawlessness, peril, robbers, and hidden dangers. The extensive media coverage of horse stealing and scalping raids profiled the regionÕs residents as intrinsically violent. After the Civil War, this characterization continued to permeate perceptions of the area and news of the conflict between the Hatfields and the McCoys, as well as the bloodshed associated with the coal labor strikes, cemented AppalachiaÕs violent reputation. Blood in the Hills: A History of Violence in Appalachia provides an in-depth historical analysis of hostility in the region from the late eighteenth to the early twentieth century. Editor Bruce E. Stewart discusses aspects of the Appalachian violence culture, examining skirmishes with the native population, conflicts resulting from the regionÕs rapid modernization, and violence as a function of social control. The contributors also address geographical isolation and ethnicity, kinship, gender, class, and race with the purpose of shedding light on an often-stereotyped regional past. Blood in the Hills does not attempt to apologize for the region but uses detailed research and analysis to explain it, delving into the social and political factors that have defined Appalachia throughout its violent history.

The Western genre has long been associated with right-wing and libertarian politics, and is said to promote individualism and free-market economics. In a new look at the Western, however, Ryan McMaken shows that the Western is in fact often anti-capitalist, and in many ways, the genre attacks the dominant ideology of nineteenth-century America: classical liberalism. The classical Westerns of the mid-twentieth century often feature wealthy capitalist villains who oppress the cowardly and defenseless shopkeepers and farmers of the frontier. The gunfighter, a representative of the law and order provided by the nation-state, intervenes to provide safety and justice. In addition to attacks on capitalism, the Western attacks other prized values of the bourgeois middle classes including Christianity, education and urbanization. McMaken examines these themes as used in the films of John Ford, Anthony Mann, and Howard Hawks. These pioneers of the classical Westerns are then contrasted with later innovators such as Sergio Leone, Sam Peckinpah, and Clint Eastwood. Also included are discussions of the role of the LITTLE HOUSE ON THE PRAIRIE series, Victorian literature, and the nature of crime on the historical frontier. With a foreword by Paul A. Cantor, author of GILLIGAN UNBOUND and THE INVISIBLE HAND IN POPULAR CULTURE.

In this summary of a unique conference on urban violence, mayors, police chiefs, local, state, and federal agency experts, and researchers provide a wealth of practical ideas to combat violence in urban America. This book will be a valuable guide to concerned community residents as well as local officials in designing new approaches to the violence that afflicts America's cities. single copy, $12.95; 2-9 copies, $9.95 each; 10 or more copies, $6.95 each (no other discounts apply)