Why did some offenses in the South end in mob lynchings while similar crimes led to legal executions? Why did still other cases have nonlethal outcomes? In this well-researched and timely book, Margaret Vandiver explores the complex relationship between these two forms of lethal punishment, challenging the assumption that executions consistently grew out of-and replaced-lynchings.
Vandiver begins by examining the incidence of these practices in three culturally and geographically distinct southern regions. In rural northwest Tennessee, lynchings outnumbered legal executions by eleven to one and many African Americans were lynched for racial caste offenses rather than for actual crimes. In contrast, in Shelby County, which included the growing city of Memphis, more men were legally executed than lynched. Marion County, Florida, demonstrated a firmly entrenched tradition of lynching for sexual assault that ended in the early 1930s with three legal death sentences in quick succession.
With a critical eye to issues of location, circumstance, history, and race, Vandiver considers the ways that legal and extralegal processes imitated, influenced, and differed from each other. A series of case studies demonstrates a parallel between mock trials that were held by lynch mobs and legal trials that were rushed through the courts and followed by quick executions.
Tying her research to contemporary debates over the death penalty, Vandiver argues that modern death sentences, like lynchings of the past, continue to be influenced by factors of race and place, and sentencing is comparably erratic.
The legendary Davy Crockett arose simultaneously with the emergence of the historical Crockett as a public figure, and once established, the man and the myth were forevermore entangled. The present work, his Life and Adventures (1833), ushered in a series of biographical and autobiographical books that thrust Crockett fully onto the national and international scene. This work, quickly retitled Sketches and Eccentricities, was the most outlandish. Its purported author, J. S. French, mixed two nineteenth-century genres of storytelling—the Humor of the Old Southwest and the sketch—all presented within a historical framework to create an early version of the King of the Wild Frontier. The Crockett encountered here is the marksman who can shoot an elk from 140 yards with his beloved rifle, Betsy, grin the bark off a tree knot, and choose bows and arrows as weapons when challenged to a duel by a fellow congressman. Within a year, Crockett disavowed this book, preferring his autobiography—Narrative of the Life of David Crockett, of the State of Tennessee—but this rollicking story, often bouncing along from tall tale, hunting anecdote, faux moral tale, to humorous pratfall, became a major source for the later biographical writings and a later cultural industry that swept up newspapers, books, political propaganda, plays, and films—and almost every way in which a frontier figure could appear in popular culture. And, while Crockett’s image was a source of entertainment and humor, it also pointed toward something far more serious: after his death at the Alamo it presented Americans with a fictional Frontier hero who progressively embodied their views on topics as varied as manliness, manifest destiny, and even white supremacy. However, the Crockett of Sketches—canny, adaptable, intelligent but not educated, hilarious—was above all a perfect reflection of the aspirations, interests, and beliefs of Jacksonian-era Americans
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