"The American Frontier" provides a detailed and richly illustrated overview of the westward expansion of colonial and post-colonial America through diplomacy, war, wanderlust, and grit. The frontier is defined and demythologized as Hollywood's stereotypical portrayals are replaced with factual yet no less fascinating and lively depictions of pioneer life. Daniel Boone, the Louisiana Purchase, the explorations of Lewis and Clark, the subjugation of the Indians, the Mexican-American War, and the building of the transcontinental railroad are among the events and personalities vividly described.Challenging review questions encourage meaningful reflection and historical analysis. Maps, tests, answer key, and extensive bibliography included.

The historic and mythic elements of the American Old West—covered wagon trains, herds of buffalo, teepee villages, Indigenous warriors on horseback, cowboys on open ranges, and white settlers “taming” a wilderness with their plows and log cabins—have exerted a global fascination for more than 200 years and became the foundation for fan communities who have endured for generations. This book examines some of those communities, particularly German fans inspired by the authors of Westerns such as Karl May, and American enthusiasts of Laura Ingalls Wilder’s Little House on the Prairie series. But the Old West (like all visions of the past) proved to be shifting cultural terrain. In both Germany and the U. S., Western narratives of white settlement were once seen as “apolitical” and were widely accepted by white people. But during the Nazi period in Germany and in East Germany after 1945, the American West was reevaluated and politically repurposed. Then, during the late twentieth century, understandings of the West changed in the U. S. as well, while the violence of white settler colonialism and the displacement of Indigenous peoples became a flashpoint in the culture wars between right and left. Reagin shows that the past that fans seek to recreate is shaped by the changing present, as each new generation adapts and relives their own West.

Explores a range of dangerous and disgusting jobs people had to do in America during the frontier days, such as mining for gold, herding cattle, and washing flea-ridden clothes.

Recovering an Irish Voice from the American Frontier is a bilingual compilation of stories by Eoin Ua Cathail, an Irish emigrant, based loosely on his experiences in the West and Midwest. The author draws on the popular American Dime Novel genre throughout to offer unique reflections on nineteenth-century American life. As a member of a government mule train accompanying the U.S. military during the Plains Indian Wars, Ua Cathail depicts fierce encounters with Native American tribes, while also subtly commenting on the hypocrisy of many famine-era Irish immigrants who failed to recognize the parallels between their own plight and that of dispossessed Native peoples. These views are further challenged by his stories set in the upper Midwest. His writings are marked by the eccentricities and bloated claims characteristic of much American Western literature of the time, while also offering valuable transnational insights into Irish myth, history, and the Gaelic Revival movement. This bilingual volume, with facing Irish-English pages, marks the first publication of Ua Cathail’s work in both the original Irish and in translation. It also includes a foreword from historian Richard White, a comprehensive introduction by Mahoney, and a host of previously unpublished historical images. “Ua Cathail’s Irish-language tales anticipate Twain and Hemingway in a multicultural world of settlers, shysters, and simple idealists still confronted by the challenge of Native Americans.”—Declan Kiberd, author of Inventing Ireland: The Literature of a Modern Nation

Learn the real stories behind the infamous renegades of the West with “Motavalli’s entertaining treatment of this bunch of baddies” (HistoryNet.com). The rebels and bandits of the American West—like Billy the Kid, Jesse James, and Butch Cassidy and the Sundance Kid—have always made for thrilling tales of gunfights, heists, and outlaws. From the beginning, penny dreadfuls, Wild West shows, dime novels, and urban legends romanticized and magnified these renegades and their wild American spirits. These tales, however, don’t capture the truth of the West’s outlaws—nor do we hear about other lawless individuals, such as Pearl Hart, Belle Starr, or the Bloody Espinosas. Jim Motavalli returns with The Real Dirt on America’s Frontier Outlaws to give a real and more inclusive look at the old West and the dangerous figures that immortalized it.

Learn the truth behind the famous characters of the Wild West—and how the legends got it wrong—in this lively history that separates fact from fiction. The historic figures of the Western frontier have fascinated us for generations. But in many cases, the stories we know about them are little more than inventions. Popular legend won’t tell you, for instance, that David Crockett was a congressman, or that Daniel Boone was a Virginia legislator. Thanks to penny dreadfuls, Wild West shows, sensationalist newspaper stories, and tall tales told by the explorers themselves, what we know of these men and women is often more fiction than fact. The Real Dirt on America's Frontier Legends separates fact from fiction, showing the legends and the evidence side-by-side to give readers the real story of the old West. Here you’ll discover the fascinating truth about Lewis and Clark, Daniel Boone, “Buffalo Bill” Cody, Calamity Jane, Kit Carson, Davy Crocket, and many others.

For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar’s Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences—mainly pioneers struggling with the hardships of establishing a life in the backcountry—enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O’Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar’s comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.

Abbey Green hates Seattle, rain, and him. With her life in shambles after a breakup and the loss of her job, it seems she has no other option but to return to her hometown of Boise, Idaho, to stay with her widowed mother. During her trip, when she is plagued by strange dreams, Abbey has no idea they are foretelling of what is to come. While visiting her childhood home and doing her best to deal with her mother’s declining mental capacity, Abbey uncovers a dusty trunk in the attic. Inside is a gold locket and an old handwritten diary that details a young woman’s journey from Kentucky to Oregon during 1852. A short time later, as Abbey holds the locket in her hand, she is suddenly thrust back in time where she joins a wagon train headed west on the Oregon Trail during the same time period. While on a journey filled with hardships, tragedy, and adversity, Abbey not only gains new relationships but also insight into her own path forward in life. In this historical novel, a modern-day woman travels back in time to join a wagon train on the Oregon Trail, finding insight into her twenty-first century life.