Decorated police officer Jake Castro is hoping Thunder Canyon will prove the perfect place to raise his baby daughter...

Twentieth-century authors and filmmakers have created a pantheon of mavericks—some macho, others angst-ridden—who often cross a metaphorical boundary among the literal ones of Anglo, Native American, and Hispanic cultures. Douglas Canfield examines the concept of borders, defining them as the space between states and cultures and ideologies, and focuses on these border crossings as a key feature of novels and films about the region. Canfield begins in the Old Southwest of Faulkner's Mississippi, addressing the problem of slavery; travels west to North Texas and the infamous Gainesville Hanging of Unionists during the Civil War; and then follows scalpers into the Southwest Borderlands. He then turns to the area of the Gadsden Purchase, known for its outlaws and Indian wars, before heading south of the border for the Yaqui persecution and the Mexican Revolution. Alongside such well-known works as Go Down Moses, The Wild Bunch, Broken Arrow, Gringo Viejo, and Blood Meridian, Canfield discusses novels and films that tell equally compelling stories of the region. Protagonists face various identity crises as they attempt border crossings into other cultures or mindsets—some complete successful crossings, some go native, and some fail. He analyzes figures such as Geronimo, Doc Holliday, and Billy the Kid alongside less familiar mavericks as they struggle for identity, purpose, and justice.

Reliable accounts of battles, wars, adventures, forays, murders, and massacres together with biographical sketches of many of the most noted Indian fighters and frontiersmen of Texas.

An in-depth analysis of the folklore surrounding gun use and the state of the debate in today's political climate.

Annotation Before Owen Wister's publication of The Virginian in 1902, the image of the cowboy was essentially that of the dime novel. This title details the evidence that Everett Johnson a cowboy from Virginia who had been a friend of Wister's in Wyoming in the 1880s, was the initial and prime inspiration for Wister's cowboy.

2022 History Book Festival Official Selection. The 1930s still conjure painful images: the great want of the Depression, and overseas, the exuberant crowds motivated by self-appointed national saviors dressing up old hatreds as new ideas. But there was another story that embodied mankind in that decade. In the same year that both Adolf Hitler and Franklin D. Roosevelt came to power, the city of Chicago staged what was, up to that time, the most forward-looking international exhibition in history. The 1933 World’s Fair looked to the future, unabashedly, as one full of glowing promise. No technology loomed larger at the Fair than aviation. And no persons at the Fair captured the public’s interest as much as the romantic figures associated with it: Italy’s internationally renowned chief of aeronautics, Italo Balbo; German Zeppelin designer and captain, Doctor Hugo Eckener; and the husband-and-wife aeronaut team of Swiss-born Jean Piccard and Chicago-born Jeannette Ridlon Piccard. This golden age of aviation and its high priests and priestesses portended to many the world over that a new age was dawning, an age when man would not only leave the ground behind, but also his uglier, less admirable heritage of war, poverty, corruption, and disease. It was only later in the decade that the dark correlation between the rise of some of aviation’s superstars and the rise of fascism was to be revealed. But for a moment in 1933, this all lay in a future that still seemed so promising. In Broken Icarus, author David Hanna tracks the inspiring trajectory of aviation leading up to and through the World’s Fair of 1933, as well as the field of flight’s more sinister ties to fascism domestic and abroad to present a unique history that is both riveting and revelatory.

American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos. Throughout the twentieth century, the "frontier thesis" influenced film and television producers who used the West as a backdrop for an array of dramatic explorations of America's history and the evolution of its culture and values. The common themes found in Westerns distinguish the genre as a quintessentially American form of dramatic art. In Hollywood's West, Peter C. Rollins, John E. O'Connor, and the nation's leading film scholars analyze popular conceptions of the frontier as a fundamental element of American history and culture. This volume examines classic Western films and programs that span nearly a century, from Cimarron (1931) to Turner Network Television's recent made-for-TV movies. Many of the films discussed here are considered among the greatest cinematic landmarks of all time. The essays highlight the ways in which Westerns have both shaped and reflected the dominant social and political concerns of their respective eras. While Cimarron challenged audiences with an innovative, complex narrative, other Westerns of the early sound era such as The Great Meadow (1931) frequently presented nostalgic visions of a simpler frontier era as a temporary diversion from the hardships of the Great Depression. Westerns of the 1950s reveal the profound uncertainty cast by the cold war, whereas later Westerns display heightened violence and cynicism, products of a society marred by wars, assassinations, riots, and political scandals. The volume concludes with a comprehensive filmography and an informative bibliography of scholarly writings on the Western genre. This collection will prove useful to film scholars, historians, and both devoted and casual fans of the Western genre. Hollywood's West makes a significant contribution to the understanding of both the historic American frontier and its innumerable popular representations.