Reading The Virginian In The New West

Although the origins of the western are as old as colonial westward expansion, it was Owen Wister?s novel The Virginian, published in 1902, that established most of the now-familiar conventions of the genre. On the heels of the classic western?s centennial, this collection of essays both re-examines the text of The Virginian and uses Wister?s novel as a lens for studying what the next century of western writing and reading will bring. The contributors address Wister?s life and travels, the novel?s influence on and handling of gender and race issues, and its illustrations and various retellings on stage, film, and television as points of departure for speculations about the ?new West??as indeed Wister himself does at the end of the novel. ø The contributors reconsider the novel?s textual complexity and investigate The Virginian's role in American literary and cultural history. Together their essays represent a new western literary studies, comparable to the new western history.

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.

Lost in the New West investigates a group of writers – John Williams, Cormac McCarthy, Annie Proulx and Thomas McGuane – who have sought to explore the tensions inherent to the Western, where the distinctions between old and new, myth and reality, authenticity and sentimentality are frequently blurred. Collectively these authors demonstrate a deep-seated attachment to the landscape, people and values of the West and offer a critical appraisal of the dialogue between the contemporary West and its legacy. Mark Asquith draws attention to the idealistic young men at the center of such works as Williams's Butcher's Crossing (1960), McCarthy's Blood Meridian (1985) and Border Trilogy, Proulx's Wyoming stories and McGuane's Deadrock novels. For each writer, these characters struggle to come to terms with the difference between the suspect mythology of the West that shapes their identity and the reality that surrounds them. They are, in short, lost in the new West.

Barbed wire is made of two strands of galvanized steel wire twisted together for strength and to hold sharp barbs in place. As creative advertisers sought ways to make an inherently dangerous product attractive to customers concerned about the welfare of their livestock, and as barbed wire became commonplace on battlefields and in concentration camps, the fence accrued a fascinating and troubling range of meanings beyond the material facts of its construction. In The Perfect Fence, Lyn Ellen Bennett and Scott Abbott explore the multiple uses and meanings of barbed wire, a technological innovation that contributes to America’s shift from a pastoral ideal to an industrial one. They survey the vigorous public debate over the benign or “infernal” fence, investigate legislative attempts to ban or regulate wire fences as a result of public outcry, and demonstrate how the industry responded to ameliorate the image of its barbed product. Because of the rich metaphorical possibilities suggested by a fence that controls through pain, barbed wire developed into an important motif in works of literature from the late nineteenth century to the present day. Early advertisements proclaimed that barbed wire was “the perfect fence,” keeping “the ins from being outs, and the outs from being ins.” Bennett and Abbott conclude that while barbed wire is not the perfect fence touted by manufacturers, it is indeed a meaningful thing that continues to influence American identities.

The western American landscape has always had great significance in American thinking, requiring an unlikely union between frontier mythology and the reality of a fragile western environment. Additionally it has borne the burden of being a gendered space, seen by some as the traditional "virgin land" of the explorers and pioneers, subject to masculine desires, and by others as a masculine space in which the feminine is neither desired nor appreciated. Both Wallace Stegner and Cormac McCarthy focus on this landscape and environment; its spiritual, narrative, symbolic, imaginative, and ideological force is central to their work. In this study, McGilchrist shows how their various treatments of these issues relate to the social climates (pre- and post-Vietnam era) in which they were written, and how despite historical discontinuities, both Stegner and McCarthy reveal a similar unease about the effects of the myth of the frontier on American thought and life. The gendering of the landscape is revealed as indicative of the attempts to deny the failure of the myth, and to force the often numinous western landscape into parameters which will never contain it. Stegner's pre-Vietnam sensibility allows the natural world to emerge tentatively triumphant from the ruins of frontier mythology, whereas McCarthy's conclusions suggest a darker future for the West in particular and America in general. However, McGilchrist suggests that the conclusion of McCarthy's Border Trilogy, upon which her arguments regarding McCarthy are largely based, offers a gleam of hope in its final conclusion of acceptance of the feminine.

Praise for the print edition:" ... no other reference work on American fiction brings together such an array of authors and texts as this.

At every turn in the development of what we now know as the western, women writers have been instrumental in its formation. Yet the myth that the western is male-authored persists. Westerns: A Women’s History debunks this myth once and for all by recovering the women writers of popular westerns who were active during the late nineteenth and early twentieth centuries when the western genre as we now know it emerged. Victoria Lamont offers detailed studies of some of the many women who helped shape the western. Their novels bear the classic hallmarks of the western—cowboys, schoolmarms, gun violence, lynchings, cattle branding—while also placing female characters at the center of their western adventures and improvising with western conventions in surprising and ingenious ways. In Emma Ghent Curtis’s The Administratrix a widow disguises herself as a cowboy and infiltrates the cowboy gang responsible for lynching her husband. Muriel Newhall’s pulp serial character, Sheriff Minnie, comes to the rescue of a steady stream of defenseless female victims. B. M. Bower, Katharine Newlin Burt, and Frances McElrath use cattle branding as a metaphor for their feminist critiques of patriarchy. In addition to recovering the work of these and other women authors of popular westerns, Lamont uses original archival analysis of the western-fiction publishing scene to overturn the long-standing myth of the western as a male-dominated genre.

In this volume experienced and new college- and university-level teachers will find practical, adaptable strategies for designing or updating courses in western American literature and western studies. Teaching Western American Literature features the latest developments in western literary research and cultural studies as well as pedagogical best practices in course development. Contributors provide practical models and suggestions for courses and assignments while presenting concrete strategies for teaching works both inside and outside the canon. In addition, Brady Harrison and Randi Lynn Tanglen have assembled insights from pioneering western studies instructors with workable strategies and practical advice for translating this often complex material for classrooms from freshman writing courses to graduate seminars. Teaching Western American Literature reflects the cutting edge of western American literary study, featuring diverse approaches allied with women's, gender, queer, environmental, disability, and Indigenous studies and providing instructors with entrée into classrooms of leading scholars in the field.