An introduction to westward expansion in the United States in graphic form.

Closed to the world for half a century, like a black hole in the Asian landmass, the wilderness of Xinjiang in northwest China is returning to the light. The picture it presents is both fascinating and disturbing. Despite a savage landscape and climate, Xinjiang has a rich past: sand-buried cities, painted cave shrines, rare creatures, and wonderfully preserved mummies of European appearance. Their descendants, the Uighurs, still farm the tranquil oases that ring the dreaded Taklamakan, the world's second largest sand desert, and the Kazakh and Kirghiz herdsmen still roam the mountains. The region's history, however, has been punctuated by violence, usually provoked by ambitious outsiders--nomad chieftains from the north, Muslim emirs from Central Asia, Russian generals, or warlords from inner China. The Chinese regard the far west as a barbarian land. Only in the 1760s did they subdue it, and even then their rule was repeatedly broken. Compared with the Russians' conquest of Siberia, or the Americans' trek west, China's colonization of Xinjiang has been late and difficult. The Communists have done most to develop it, as a penal colony, as a buffer against invasion, and as a supplier of raw materials and living space for an overpopulated country. But what China sees as its property, the Uighurs regard as theft by an alien occupier. Tension has led to violence and savage reprisals. This portrait of Xinjiang should be essential reading for travelers and for anyone interested in today's China and the fate of minority peoples.

Grizz Brickbottom, toughest cowboy in the West, yearns for a companion and convinces his cattle-rustling cohorts that they need a dog to help with the work.

This book fills a gap in the historiographical and theoretical fields of race, gender, and war. In brief, Race and Gender in Modern Western Warfare (RGMWW) offers an introduction into how cultural constructions of identity are transformed by war and how they in turn influence the nature of military institutions and conflicts. Focusing on the modern West, this project begins by introducing the contours of race and gender theories as they have evolved and how they are employed by historians, anthropologists, sociologists, and other scholars. The project then mixes chronological narrative with analysis and historiography as it takes the reader through a series of case studies, ranging from the early nineteenth century to the Global War of Terror. The purpose throughout is not merely to create a list of so-called "great moments" in race and gender, but to create a meta-landscape in which readers can learn to identify for themselves the disjunctures, flaws, and critical synergies in the traditional memory and history of a largely monochrome and male-exclusive military experience. The final chapter considers the current challenges that Western societies, particularly the United States, face in imposing social diversity and tolerance on statist military structures in a climates of sometimes vitriolic public debate. RGMWW represents our effort to blend race, gender, and military war, to problematize these intersections, and then provide some answers to those problems.

The Western tradition, with its well-worn tropes, readily identifiable characters, iconic landscapes, and evocative soundtracks, is not limited to the United States. Western, or Western-inspired films have played a part in the output of numerous national film traditions, including Asia, Central and Eastern Europe, and Latin America. In International Westerns: Re-Locating the Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the significance and meanings of these films, their roots in other media, and their reception in the national industries which gave them form. Among the questions that the volume seeks to answer are: What do Westerns not made in the U.S. reveal? In what ways do they challenge or support the idea of national literatures and cinemas? How do these films negotiate nation, narrative, and genre? Divided into five sections, the twenty essays in this volume look at films from a wide range of national cinemas, such as France (The Adventures of Lucky Luke), Germany (Der Schuh des Maitu), Brazil (O Cangaceiro), Eastern Europe (Lemonade Joe), and of course, Asia (Sukiyaki Western Django). Featuring contributions from a diverse group of international scholars—often writing about Westerns adapted to their own national traditions—these essays address such matters as competing national film traditions, various forms of satire and comedy based on the Western tradition, the range of cultural adaptations of the traditional Western hero, the ties between the nation-state and the outlaw, and Westerns in a variety of unanticipated guises. Representing a broader look at global Westerns than any other single volume to date—and featuring more than 70 illustrations—International Westerns will be of interest to scholars of film, popular culture, and cultural history.

Who owns the West? -- Buffalo Bill and Karl May : the origins of German Western fandom -- A wall runs through it : western fans in the two Germanies -- Little houses on the prairie -- "And then the American Indians came over" : fan responses to indigenous resurgence and political change -- Indians into Confederates : historical fiction fans, reenactors, and living history.

Read about the Old West and its people.