Wild Bill’s ever-evolving legend

When it came to the Wild West, the nineteenth-century press rarely let truth get in the way of a good story. James Butler “Wild Bill” Hickok’s story was no exception. Mythologized and sensationalized, Hickok was turned into the deadliest gunfighter of all, a so-called moral killer, a national phenomenon even while he was alive.

Rather than attempt to tease truth from fiction, coauthors Paul Ashdown and Edward Caudill investigate the ways in which Hickok embodied the culture of glamorized violence Americans embraced after the Civil War and examine the process of how his story emerged, evolved, and turned into a viral multimedia sensation full of the excitement, danger, and romance of the West.

Journalists, the coauthors demonstrate, invented “Wild Bill” Hickok, glorifying him as a civilizer. They inflated his body count and constructed his legend in the midst of an emerging celebrity culture that grew up around penny newspapers. His death by treachery, at a relatively young age, made the story tragic, and dime-store novelists took over where the press left off. Reimagined as entertainment, Hickok’s legend continued to enthrall Americans in literature, on radio, on television, and in the movies, and it still draws tourists to notorious Deadwood, South Dakota.

American culture often embraces myths that later become accepted as popular history. By investigating the allure and power of Hickok’s myth, Ashdown and Caudill explain how American journalism and popular culture have shaped the way Civil War–era figures are remembered and reveal how Americans have embraced violence as entertainment.
 

Thomas W. Colley served in one of the most active and famous units in the Civil War, the 1st Virginia Cavalry, which fought in battles in the Eastern Theater, from First Manassas/Bull Run to the defense of Petersburg. Colley was born November 11, 1837, outside Abingdon, Virginia, and grew up knowing the daily demands of life on a farm. In May 1861, along with the other members of the Washington Mounted Rifles, he left his home in Washington County and reported to camp in Richmond. During the war, Colley received wounds on three different occasions: first at Waterloo Bridge in 1862, again at Kelly’s Ford in 1863, and finally at Haw’s Shop in 1864. The engagement at Haw’s Shop resulted in the amputation of his left foot, thereby ending his wartime service.

The first modern scholarly edition of Colley’s writings, In Memory of Self and Comrades dramatizes Colley’s fate as a wounded soldier mustered out before the war’s conclusion. Colley’s postwar reflections on the war reveal his struggle to earn a living and maintain his integrity while remaining somewhat unreconciled to his condition. He found much of his solace through writing and sought to advance his education after the war. As one of an estimated 20,000 soldiers who underwent amputation during the Civil War, his memoirs reveal the challenges of living with what many might recognize today as post-traumatic stress disorder. Annotations from editor Michael K. Shaffer provide further context to Colley’s colorful and insightful writings on both his own condition and the condition of other veterans also dealing with amputations

The collective memories of Nazism that developed in postwar Germany have helped define a new paradigm of memory politics. From Europe to South Africa and from Latin America to Iraq, scholars have studied the German case to learn how to overcome internal division and regain international recognition.

In Pursuit of German Memory: History, Television, and Politics after Auschwitz examines three arenas of German memory politics—professional historiography, national politics, and national public television—that have played key roles in the reinvention of the Nazi past in the last sixty years. Wulf Kansteiner shows that the interpretations of the past proposed by historians, politicians, and television producers reflect political and generational divisions and an extraordinary concern for Germany's image abroad. At the same time, each of these theaters of memory has developed its own dynamics and formats of historical reflection.

Kansteiner’s analysis of the German scene reveals a complex social geography of collective memory. In Pursuit of German Memory underscores the fact that German memories of Nazism, like many other collective memories, combine two seemingly contradictory qualities: They are highly mediated and part of a global exchange of images and story fragments but, at the same time, they can be reproduced only locally, in narrowly circumscribed networks of communication.

The central question for both the victors and the vanquished of World War II was just how widely the stain of guilt would spread over Germany. Political leaders and intellectuals on both sides of the conflict debated whether support for National Socialism tainted Germany's entire population and thus discredited the nation's history and culture. The tremendous challenge that Allied officials and German thinkers faced as the war closed, then, was how to limn a postwar German identity that accounted for National Socialism without irrevocably damning the idea and character of Germany as a whole. 

In  the House of the Hangman chronicles this delicate process, exploring key debates about the Nazi past and German future during the later years of World War II and its aftermath. What did British and American leaders think had given rise to National Socialism, and how did these beliefs shape their intentions for occupation? What rhetorical and symbolic tools did Germans develop for handling the insidious legacy of Nazism? Considering these and other questions, Jeffrey K. Olick explores the processes of accommodation and rejection that Allied plans for a new German state inspired among the German intelligentsia. He also examines heated struggles over the value of Germany's institutional and political heritage. Along the way, he demonstrates how the moral and political vocabulary for coming to terms with National Socialism in Germany has been of enduring significance—as a crucible not only of German identity but also of contemporary thinking about memory and social justice more generally.

Given the current war in Iraq, the issues contested during Germany's abjection and reinvention—how to treat a defeated enemy, how to place episodes within wider historical trajectories, how to distinguish varieties of victimhood—are as urgent today as they were sixty years ago, and In the House of the Hangman offers readers an invaluable historical perspective on these critical questions.

Throughout his life, maps have been a source of imagination and wonder for Christopher Norment. Mesmerized by them since the age of eight or nine, he found himself courted and seduced by maps, which served functional and allegorical roles in showing him worlds that he might come to know and helping him understand worlds that he had already explored.

Maps may have been the stuff of his dreams, but they sometimes drew him away from places where he should have remained firmly rooted. In the Memory of the Map explores the complex relationship among maps, memory, and experience—what might be called a “cartographical psychology” or “cartographical history.” Interweaving a personal narrative structured around a variety of maps, with stories about maps as told by scholars, poets, and fiction writers, this book provides a dazzlingly rich personal and intellectual account of what many of us take for granted.

A dialog between desire and the maps of his life, an exploration of the pleasures, utilitarian purposes, benefits, and character of maps, this rich and powerful personal narrative is the matrix in which Norment embeds an exploration of how maps function in all our lives. Page by page, readers will confront the aesthetics, mystery, function, power, and shortcomings of maps, causing them to reconsider the role that maps play in their lives.

Who has the right to represent Native history?
 

The past several decades have seen a massive shift in debates over who owns and has the right to tell Native American history and stories. For centuries, non-Native actors have collected, stolen, sequestered, and gained value from Native stories and documents, human remains, and sacred objects. However, thanks to the work of Native activists, Native history is now increasingly being repatriated back to the control of tribes and communities. Indigenous Archival Activism takes readers into the heart of these debates by tracing one tribe’s fifty-year fight to recover and rewrite their history.

 

Rose Miron tells the story of the Stockbridge-Munsee Mohican Nation and their Historical Committee, a group of mostly Mohican women who have been collecting and reorganizing historical materials since 1968. She shows how their work is exemplary of how tribal archives can be used strategically to shift how Native history is accessed, represented, written and, most importantly, controlled. Based on a more than decade-long reciprocal relationship with the Stockbridge-Munsee Mohican Nation, Miron’s research and writing is shaped primarily by materials found in the tribal archive and ongoing conversations and input from the Stockbridge-Munsee Historical Committee.

 

As a non-Mohican, Miron is careful to consider her own positionality and reflects on what it means for non-Native researchers and institutions to build reciprocal relationships with Indigenous nations in the context of academia and public history, offering a model both for tribes undertaking their own reclamation projects and for scholars looking to work with tribes in ethical ways.

How can immortality be a curse? According to the Wandering Jew legend, as Jesus made his way to Calvary, a man refused him rest, cruelly taunting him to hurry to meet his fate. In response, Jesus cursed the man to wander until the Second Coming. Since the medieval period, the legend has inspired hundreds of adaptations by artists and writers. Instrument of Memory: Encounters with the Wandering Jew, the first English-language study of the legend in over fifty years, is also the first to examine the influence of the legend’s medieval and early modern sources over the centuries into the present day. Using the lens of memory studies, the work shows how the Christian tradition of the legend centered the memory of the Passion at the heart of the Wandering Jew’s curse. Instrument of Memory also shows how Jewish artists and writers have reimagined the legend through Jewish memory traditions. Through this focus on memory, Jewish adapters of the legend create complex renderings of the Wandering Jew that recognize not only the entanglement of Jewish and Christian memory, but also the impact of that entanglement on Jewish subjects. This book presents a complex, sympathetic, and more fully realized version of the legend while challenging the limits of the presentism of memory studies.

The construction of memory entails a battle not only between memory and forgetting but also between different memories. There are multiple constructions of memory, and in the dispute between them, some become hegemonic, while others remain in the margins. Ana Forcinito explores the intermittences of transitional justice and memory in post-dictatorship Uruguay. The processes of building memory and transitional justice are repetitive but inconstant. They are contested by both internal and external forces and shaped by tensions between oblivion and silence. Forcinito explores models of reconciliation to present an alternative narrative of the past and to expose the blind spots of memory.
 

It All Began in Nuremberg is a translation of Rita Thalmann’s moving memoir, Tout Commença à Nuremberg, originally published in France in 2004. Thalmann’s memoir represents one of the last voices to witness personally the rise of Nazism and the Holocaust. The author, a scholar of significance in France, died on August 18, 2013.