In the 1870s, Deadwood was a thriving—and largely lawless—boomtown. And as any fan of western history and films knows, stagecoach robberies were a regular feature of life in this fabled region of Dakota Territory. Now, for the first time, Robert K. DeArment tells the story of the "good guys and bad guys" behind these violent crimes: the road agents who wreaked havoc on Deadwood's roadways and the shotgun messengers who battled to protect stagecoach passengers and their valuable cargo. DeArment shows in dramatic detail how for two years gangs of robbers ruled the road, perpetrating holdups and killings, until lawmen and stage-company and railroad agents finally brought an end to the mayhem. The characters populating this violent tale include such legendary figures as Wild Bill Hickok and the famous railroad detective James L. "Whispering" Smith, a formidable opponent of bandits. We also get to know the men who operated the stages, the lawmen and company men who ran and defended the coaches, and the outlaws who fought against them. DeArment tells where these men came from and what became of them after the outlawry ended. He ends his account in the 1880s with Buffalo Bill's Wild West show and its spectacular rendition of a shotgun robbery, featuring an actual Deadwood stagecoach. After nearly a century and a half, the Deadwood stage continues to command our attention.

In the 1870s, Deadwood was a thriving—and largely lawless—boomtown. And as any fan of western history and films knows, stagecoach robberies were a regular feature of life in this fabled region of Dakota Territory. Now, for the first time, Robert K. DeArment tells the story of the "good guys and bad guys" behind these violent crimes: the road agents who wreaked havoc on Deadwood's roadways and the shotgun messengers who battled to protect stagecoach passengers and their valuable cargo. DeArment shows in dramatic detail how for two years gangs of robbers ruled the road, perpetrating holdups and killings, until lawmen and stage-company and railroad agents finally brought an end to the mayhem. The characters populating this violent tale include such legendary figures as Wild Bill Hickok and the famous railroad detective James L. "Whispering" Smith, a formidable opponent of bandits. We also get to know the men who operated the stages, the lawmen and company men who ran and defended the coaches, and the outlaws who fought against them. DeArment tells where these men came from and what became of them after the outlawry ended. He ends his account in the 1880s with Buffalo Bill's Wild West show and its spectacular rendition of a shotgun robbery, featuring an actual Deadwood stagecoach. After nearly a century and a half, the Deadwood stage continues to command our attention.

The Surprising Story of the Plucky Drivers, Shrewd Owners, and Ruthless Robbers Who Snubbed the Rules As pervasive as stagecoaches (popularly known as shake-guts) were in the early years of America, it shouldn’t be surprising that women who possessed a significant dose of grit and an ounce of entrepreneurial spirit engaged in one way or another in stagecoach enterprises. Though their contributions to stagecoach history were often overlooked, women drove stagecoaches, groomed and shod the stage horses, hoisted mailbags and boxes of gold bullion, negotiated contracts, bought and managed stage lines, defended (with their six-shooters) their cargo from bandits, and robbed stages in addition to fulfilling their traditional roles as housekeepers, cooks, and laundresses—and, oh yes, mothers to multiple children. Stagecoach Women offers an expansive overview of stagecoach history in the United States enriched by the personal stories of women who contributed to the evolution and success of a captivating facet of American history. Prepare for a teeth-rattling, romance-shattering journey that jolts away preconceived notions about women and stagecoaches and surprises with its twists and turns.

Martial experiences and the mythologies that surround them have profoundly affected the ways in which Americans think of themselves. Wars identify the heroes who help define national character, provide the stories for the grand narratives of belonging and sacrifice, and serve as markers for essential moments of transformation. However, only in the last several years have scholars begun using the term “cultural history of American warfare” to identify the study of how public discourse formulates these defining myths and narratives. This volume brings together scholarship from diverse fields in a common mission to demonstrate the usefulness and significance of studying the cultural history of American warfare. The Martial Imagination: Cultural Aspects of American Warfare canvasses the American war experience from the Revolution to the War on Terror, examining how it infuses legitimacy and conformity with an urgency that contorts ideas of citizenship, nationhood, gender, and other pliable categories. The multidisciplinary scholarship in this volume represents the varied perspectives of cultural history, American studies, literary criticism, war and society, media studies, and public culture analysis, illustrating the rich dialogues that epitomize the cultural history of American warfare. Bringing together both recognized and emerging scholars, this book is the first anthology to feature essays on this topic, comprising research from twelve authors who represent a wide range of experiences and disciplines. Their work uncovers new and surprising understandings of the American war experience that reveal the ways in which culture makers have grappled with the trauma of war, salvaged meaning from the meaningless, or advanced some ulterior agenda.

Settlers in the frontier West were often easy prey for criminals. Policing efforts were scattered at best and often amounted to vigilante retaliation. To create a semblance of order, freelance enforcers of the law known as man-hunters undertook the search for fugitives. These pursuers have often been portrayed as ruthless bounty hunters, no better than the felons they pursued. Robert K. DeArment’s detailed account of their careers redeems their reputations and reveals the truth behind their fascinating legends. As DeArment shows, man-hunters were far more likely to capture felons alive than their popular image suggests. Although “Wanted: Dead or Alive” reward notices were posted during this period, they were reserved for the most murderous desperadoes. Man-hunters also came from a variety of backgrounds in the East and the West: of the eight men whose stories DeArment tells, one began as an officer for an express company, and another was the head of an organization of local lawmen. Others included a railroad detective, a Texas Ranger, a Pinkerton operative, and a shotgun messenger for a stagecoach line. All were tough survivors, living through gunshot wounds, snakebites, disease, buffalo stampedes, and every other hazard of life in the Wild West. They also crossed paths with famous criminals and sheriffs, from John Wesley Hardin and Sam Bass to Wyatt Earp, Butch Cassidy, and the Sundance Kid. Telling the true stories of famous men who risked their lives to bring western outlaws to justice, Man-Hunters of the Old West dispels long-held myths of their cold-blooded vigilantism and brings fresh nuance to the lives and legends that made the West wild.

Imperial Affects is the first sustained account of American action-based cinema as melodrama. From the earliest war films through the Hollywood Western and the late-century action cinema, imperialist violence and mobility have been produced as sites of both visceral pleasure and moral virtue. Suffering and omnipotence operate as twinned affects in this context, inviting identification with an American national subject constituted as both victimized and invincible—a powerful and persistent conjunction traced here across a century of cinema.

A strange old woman caked in Montana mud pens a letter to her darling daughter back East—the writer's name is Martha Jane, but her friends call her Calamity... I am the Wild West, no show about it. I was one of the people who kept it wild. Larry McMurtry returns to the territory of his Pulitzer Prize–winning masterwork, Lonesome Dove, to sing the song of Calamity Jane's last ride. In a letter to her daughter back East, Martha Jane is not shy about her own importance. Martha Jane—better known as Calamity—is just one of the handful of aging legends who travel to London as part of Buffalo Bill Cody's Wild West Show in Buffalo Girls. As he describes the insatiable curiosity of Calamity's Indian friend No Ears, Annie Oakley's shooting match with Lord Windhouveren, and other highlights of the tour, McMurtry turns the story of a band of hardy, irrepressible survivors into an unforgettable portrait of love, fellowship, dreams, and heartbreak.