"Marcus Klein makes major contributions to American studies, literary criticism, and intellectual and social history. In a perfectly crystalline and crystallized way, he brilliantly exhibits how the American imagination was rapidly, unexpectedly, and utterly transformed as we made for the twentieth century. Klein demonstrates how immigration, popular literature, the rise of ethnicity, new psychological fears, and old fables mixed together to make modern America. No one has seen the underside of the American imagination so clearly and originally; but once we are allowed to see what Klein does, our understanding of our history and its vicissitudes is changed for good."--Jay Martin, University of Southern California

Wallmann's sweep through the western is a careful, incisive, and blessedly non-theoretical examination of the implications of the western from the beginning to the present, taking the reader deep into the heart of the subject and offering original and perceptive theories of how the western reflects the evolution of America."--BOOK JACKET.

The American West of myth and legend has always exerted a strong hold on the popular imagination, and the essays in Reading the West examine some of the basis of that fascination. Reading the West, first published in 1996, is a collection of critical essays by writers, independent scholars and critics on the literature of the American West in the last two centuries. It showcases new ways of reading and understanding western writing. Arguing for the importance of 'place' in literature, these essays explore what makes representative literary works 'western'. They also explore the multicultural and ecological dimensions of western writing. This volume helps enrich our understanding of a distinguished body of literary work which has sometimes been unjustly ignored. It deals not only with literature but with the changing conception of the West in the American imagination.

The Western introduces the novice to the pleasures and the meanings of the Western film, shares the excitement of the genre with the fan, addresses the suspicions of the cynic and develops the knowledge of the student. The Western is about the changing times of the Western, and about how it has been understood in film criticism. Until the 1980s, more Westerns were made than any other type of film. For fifty of those years, the genre was central to Hollywood's popularity and profitability. The Western explores the reasons for its success and its latter-day decline among film-makers and audiences alike. Part I charts the history of the Western film and its role in film studies. Part II traces the origins of the Western in nineteenth-century America, and in its literary, theatrical and visual imagining. This sets the scene to explore the many evolving forms in successive chapters on early silent Westerns, the series Western, the epic, the romance, the dystopian, the elegiac and, finally, the revisionist Western. The Western concludes with an extensive bibliography, filmography and select further reading. Over 200 Westerns are discussed, among them close accounts of classics such as Duel in the Sun, The Wild Bunch and Unforgiven, formative titles like John Ford's epic The Iron Horse, and early cowboy star William S. Hart's The Silent One together with less familiar titles that deserve wider recognition, including Comanche Station, Pursued and Ulzana's Raid.

Westerns are rarely only about the West. From the works of James Fenimore Cooper to Gary Cooper, stories set in the American West have served as vehicles for topical commentary. More than any other pioneer of the genre, Owen Wister turned the Western into a form of social and political critique, touching on such issues as race, the environment, women’s rights, and immigration. In Owen Wister and the West, a biographical-literary account of Wister’s life and writings, Gary Scharnhorst shows how the West shaped Wister’s career and ideas, even as he lived and worked in the East. The Virginian, Wister’s claim to literary fame, was published in 1902, but his writing career actually began in 1891 and continued for twenty-five years after the publication of his masterpiece. Scharnhorst traces Wister’s western connections up to and through the publication of The Virginian and shows that the author remained deeply connected to the American West until his death in 1938. Like his Harvard friend Theodore Roosevelt, Wister was the sickly scion of an eastern family who recuperated in the West before returning to his home and inherited social position. His life story is punctuated with appearances by such contemporaries as Frederic Remington, Rudyard Kipling, and Ernest Hemingway. Scharnhorst thoroughly discusses Wister’s experiences in the West, including a detailed chronology of his travels and the writings that grew out of them. He offers numerous insights into Wister’s adroit use of sources, and provides revealing comparisons between Wister’s western works and the writings of other authors treating the same region. The West, Scharnhorst shows, was the crucible in which Wister tested and expressed his political opinions, most of them startlingly conservative by present standards. Yet The Virginian remains the template for the western novel today. More than any other Western writer of the past century and a half, Wister's career merits resurrection.

Americans have had an enduring yet ambivalent obsession with the West as both a place and a state of mind. Michael L. Johnson considers how that obsession originated, how it has determined attitudes toward and activities in the West, and how it has changed over the centuries.

To this structural analysis he adds a new account of the genre's history and its relationship to the myths of the West which have played such an influential role in American history."--BOOK JACKET.