With the State of Kentucky in the Lead, the Battle to Secure the American Frontier for Westward Expansion 
The spring of 1812 found the young American republic on edge. The British Navy was impressing American seamen with impunity at an alarming rate while vicious attacks on frontier settlements by American Indians armed with British weapons had left a trail of fear and outrage. As calls for a military response increased, Kentucky, the first state west of the Appalachians, urged that only by defeating the British could the nation achieve security. The very thought conjured up embellished memories of the American Revolution, and once war was declared, many soldiers believed that the “Spirit of 76” would lead them to victory. But the conflict quickly transformed from a patriotic parade to a desperate attempt to survive against a major military power. While the War of 1812 is known mostly for later events, including the burning of Washington and the siege of Fort McHenry, much of the first two years of the war was fought in the west, with the British Army and their Indian allies nearly overrunning the Old Northwest and threatening the borders of the original colonies. 
In The War of 1812 in the West: From Fort Detroit to New Orleans, David Kirkpatrick chronicles the near catastrophic loss of the Ohio, Indiana, and Illinois Territories, the bitter fight against both Tecumseh’s Confederation and the Creek Nation, and the slow recovery and ultimate victory of American forces—a large portion of which was supplied by Kentucky—from Canada to the Gulf of Mexico. Battles such as River Raisin, Thames River, Fort Meigs, and New Orleans are placed in context to show how they secured America’s frontier and opened territory to the west to new settlement following the war. 

Waterhouses is about the places the people of Lagos have inhabited, imagined, and made home for the past two centuries. It asks what a house in Lagos is and explores how the answer to that question has been historically constructed and reconstructed in turn with the city’s changing landscapes. Written for historians of African and Atlantic history, scholars and practitioners of urbanism, and anyone looking to make sense of Africa’s most populous metropolis today, the book is an approachable history of how houses and water have formed modern Lagos. The book argues that in the coastlands from which Lagos rose, housing architectures were the single most important social, material, and political instruments for people hoping to contour the city’s landscapes—both its ecology and its image—and its historical course. The forms and meanings of houses in Lagos have shifted dramatically over time and in ways that reveal how power, house making, visual perception, and the environment are entangled in modern cities. The book’s chapters encompass six eras and six waterscapes: sandbars, canals, swamps, lagoons, oceans, and floods. These spaces guide the book’s exploration of how people saw and attempted to remake Lagos’s environs in a process that invariably involved housing architectures. At its core, Lagos is a city built through the materials, relations, and powers contained in the dry, solid, and hospitable spaces of homes, which have long been scarce and culturally celebrated resources in the city’s water-constricted setting. While shelter is integral to any city’s development, houses have been particularly important and sought after in Lagos because of the city’s land shortages and because of the societal influence and physical footprint of traditional Yoruba ilé (family compounds), in which activities were historically organized and centered. Through dozens of maps, photographs, and housing plans found in British and Nigerian archives, this book traces the relationship between Lagos’s residential spaces and its urban landscapes across the rise, fall, and aftermath of British colonization. By showing how Yoruba visions of home—though often forgotten or misunderstood today—coexisted with European notions, Waterhouses offers urban planners, policy makers, and architects ideas for how the definingly human act of inhabiting a place might be grounded in practices of continuous custodianship rather than extractive possession.

In Ways to the West, Tim Sullivan embarks on a car-less road trip through the Intermountain West, exploring how the region is taking on what may be its greatest challenge: sustainable transportation. Combining personal travel narrative, historical research, and his professional expertise in urban planning, Sullivan takes a critical yet optimistic and often humorous look at how contemporary Western cities are making themselves more hospitable to a life less centered on the personal vehicle.

The modern West was built by the automobile, but so much driving has jeopardized the West’s mystic hold on the American future. At first, automobility heightened the things that made the West great, but love became dependence, and dependence became addiction. Via his travels by bicycle, bus, and train through Las Vegas, Phoenix, Denver, Boise, Salt Lake City, and Portland, Sullivan captures the modern transportation evolution taking place across the region and the resulting ways in which contemporary Western communities are reinterpreting classic American values like mobility, opportunity, adventure, and freedom.

Finding a West created, lost, and reclaimed, Ways to the West will be of great interest to anyone curious about sustainable transportation and the history, geography, and culture of the American West.

The Western film is inextricably tied to American culture: untamed landscapes, fiercely independent characters, and an unwavering distinction between good and evil. Yet Westerns began in the early twentieth century as far more fluid works of comedy, adventure, and historical explorations of the frontier landscape. Nanna Verhoeff examines here the earliest films made in the Western genre and proposes the thought-provoking argument that these little-studied films demand new ways of considering Westerns and the history of cinema. 

Verhoeff analyzes the earliest American and European Westerns—made between 1894 and 1915—and finds them to be an international repository for anxieties about modernity and identity, not the instructional morality tales we assume them to be. She draws on an array of archival materials—photography, paintings, Wild West shows, popular ethnographic studies, and pulp literature—to locate these early Westerns more precisely in their original social and cultural contexts. These early films—which coincided with the “closing” of the West and rises in rates of immigration, railroad travel, and urbanization—drove the transformation of film, Verhoeff argues, from just another new technology into the dominant cultural vehicle for dealing with issues of national and personal nostalgia, as well as uncertainty in the face of modernity. From these fragmentary early films Verhoeff extracts a rich historical analysis that radically reorients our view of the first two decades of cinema history in America and provocatively connects the evolution of Westerns to our transition today into a new media culture. 

The West in Early Cinema challenges established history and criticism of the Western film and will be an invaluable resource for the film scholar and John Wayne fan alike.

African Americans who moved to California in hopes of finding freedom and full citizenship instead faced all-too-familiar racial segregation. As one transplant put it, "The only difference between Pasadena and Mississippi is the way they are spelled." From the beaches to streetcars to schools, the Golden State—in contrast to its reputation for tolerance—perfected many methods of controlling people of color.

Lynn M. Hudson deepens our understanding of the practices that African Americans in the West deployed to dismantle Jim Crow in the quest for civil rights prior to the 1960s. Faced with institutionalized racism, black Californians used both established and improvised tactics to resist and survive the state's color line. Hudson rediscovers forgotten stories like the experimental all-black community of Allensworth, the California Ku Klux Klan's campaign of terror against African Americans, the bitter struggle to integrate public swimming pools in Pasadena and elsewhere, and segregationists' preoccupation with gender and sexuality.

Sex can be an oppressive force, a tool to shame, divide, and control a population. But it can also be a force for change, for the legal and physical challenge of inequity and injustice. In West of Sex, Pablo Mitchell uses court transcripts and criminal cases to provide the first coherent picture of Mexican-American sexuality at the turn of the twentieth century, and a truly revelatory look at sexual identity in the borderlands.

As Mexicans faced a rising tide of racial intolerance in the American West, some found cracks in the legal system that enabled them to assert their rights as full citizens, despite institutional hostility. In these chapters, Mitchell offers a rare glimpse into the inner workings of ethnicity and power in the United States, placing ordinary Mexican women and men at the center of the story of American sex, colonialism, and belonging.

Other chapters discuss topics like prostitution, same-sex intimacy, sexual violence, interracial romance, and marriage with an impressive level of detail and complexity. Written in vivid and accessible prose, West of Sex offers readers a new vision of sex and race in American history.

Expanding the scope of American borderland and frontier literary scholarship, West of the Border examines the writings of nineteenth- and turn-of-the-century Native, African, Asian, and Anglo American frontier writers. This book views frontiers as “human spaces” where cultures make contact as it considers multicultural frontier writers who speak from “west of the border.”

James P. Beckwourth, a half-black fur trader; Sarah Winnemucca Hopkins, a Paiute translator; Salishan author Mourning Dove; Cherokee novelist John Rollin Ridge; Sui Sin Far, an Anglo-Chinese short story writer, and her sister, romance novelist Onoto Watanna; and Mary Austin, a white southwestern writer- each of these intercultural writers faces a rite of passage into a new social order. Their writings negotiate their various frontier ordeals: the encroachment of pioneers on the land; reservation life; assimilation; Christianity; battles over territories and resources; exclusion; miscegenation laws; and the devastation of the environment.

In West of the Border, Noreen Groover Lape raises issues inherent in American pluralism today by broaching timely concerns about American frontier politics, conceptualizing frontiers as intercultural contact zones, and expanding the boundaries of frontier literary studies by giving voice to minority writers.

West to Far Michigan is a study of the lower peninsula's occupation by agriculturalists, whose presence forever transformed the land and helped to create the modern state of Michigan. This is not simply a history of Michigan, but rather a work that focuses on why the state developed as it did. Although Michigan is seen today as an industrial state whose history is couched in terms of the fur trade and the international rivalry for the Great Lakes, agricultural settlement shaped its expansion. Using a model of agricultural colonization derived from comparative studies, Lewis examines the settlement process in Michigan between 1815 and 1860. This period marked the opening of Michigan to immigrants, saw the rise of commercial agriculture, and witnessed Michigan's integration into the larger national economy.
     Employing numerous primary sources, West to Far Michigan traces changes and patterns of settlement crucial to documenting the large-scale development of southern Michigan as a region. Diaries, letters, memoirs, gazetteers, and legal documents serve to transform the more abstract elements of economic and social change into more human terms. Through the experiences of the early Agriculturists process, we can gain insight into how their triumphs played out in communities within the region to produce small-scale elements that comprise the fabric of the larger cultural landscape.

The concept of the American West is an essential part of our national psyche. Identifying the West, however, is a difficult matter. From pinpointing the region’s ambiguous boundaries, to defining its significance to each American, scholars from a multitude of disciplines have disagreed about the geography, history, and meaning of the West since we first advanced on the frontier.
In Western Places, American Myths: How We Think About the West, geographer Gary J. Hausladen brings together leading scholars to consider how popular perceptions about the West contribute to our understanding of the region’s geography. Topics include ranching, gambling, cinema, the National Park System, and the roles of minorities in Western expansion. The essays are divided into three sections. “Continuity and Change” addresses themes that are relevant to the entire region including the relationship between the American West and the academic field of historical geography. In part two, “Enduring Regional Voices,” the essays depart from predominantly white Euro-American male interpretations to study other perspectives, namely those of women, Mormons, Mexican Americans, and Native Americans. “The West as Visionary Place” investigates the culture of the region.
Drawing from diverse media, contributors explore various images and their contributions to our understanding about the American West. In the final chapter, key western movies are used to examine the issues of settlement and utopianism, as well as empire and territorial expansion. As a collection, these twelve essays reflect the eclectic nature of Western scholarship, examining diverse topics—some historical, some contemporary—from sometimes conflicting perspectives, with widely divergent scope and voices. Western Places, American Myths brings together geography, history, popular culture, and a comprehensive view of the region, bridging the humanities and social sciences.

Where the Wind Dreams of Staying is a personal memoir told through interwoven essays. In the tradition of environmental literature, Dieterle details his experiences in southeastern Washington, Utah, Nevada, Iowa, California, and Airzona. His restless search for purpose, identity, and place moves through cycles of success and failure, love and loss. He captures the emotional storms of a boy, and then a man, on a restless search for meaning in a place, or for a place with meaning.
 
Dieterle’s journey leads from the plateau of eastern Washington through the landscapes of seven states, ending in the shadow of the San Francisco peaks in northern Arizona. Readers will find rich, detailed explorations of western landscapes balanced with stories of personal reflection, determination, doubt, and fulfillment.

In Whitman East and West, fifteen prominent scholars track the surprising ways in which Whitman's poetry and prose continue to be meaningful at the beginning of the twenty-first century. Covering a broad range of issues—from ecology to children's literature, gay identity to China's May 4th Movement, nineteenth-century New York politics to the emerging field of normality studies, Mao Zedong to American film—each original essay opens a previously unexplored field of study, and each yields new insights by demonstrating how emerging methodologies and approaches intersect with and illuminate Whitman's ideas about democracy, sexuality, America, and the importance of literature.

Confirming the growing international spirit of American studies, the essays in Whitman East and West developed out of a landmark conference in Beijing, the first major conference in China to focus on an American poet. Scholars from Asia, Europe, and North America set out to track the ways in which Whitman's poetry has become part of China's cultural landscape as well as the literary landscapes of other countries. By describing his assimilation into other cultures and his resulting transformation into a hybrid poet, these essayists celebrate Whitman's multiple manifestations in other languages and contexts.

Mitchell draws on decades of experience to describe the trails, routes, wildlife, glaciers, lakes, and streams in Wyoming's fabulous two-and-a-quarter million acre Wind River Range.

A short hike was the beginning of a long career in wilderness living for Finis Mitchell of Rock Springs, Wyoming. He has scaled 244 peaks, including four times to the trop of Gannett Peak, the highest mountain in the state. A vigorous supporter of wilderness, the mountain man pours out his philosophy at meetings and slide shows with amazing attention to detail. He has taken 105,345 pictures as a hobby and uses them in his slide shows to show people their own public lands.

He has drawn on his vast experience in the Wind Rivers to describe, in this guide book, the trails, routes, wildlife, glaciers, 4,000 lakes and 800 miles of streams in Wyoming’s fabulous two and a quarter million acre Wind River Range.
 

The 2017 volume in the Manifest West series, Women of the West, delves into the rich mixing pot created in the West, derived from assorted cultures and ethnicities and from a variety of beliefs and traditions across the world, all manifested in today’s Western culture.

There is no one type of Western woman. They are beautifully diverse in race, religion, and sexual orientation, yet they are bonded through the shared experiences and approaches to life that identify them as distinctly Western. Like individual squares of a quilt, women’s interactions with the culture, landscape, and geography of the West, as well as with their families and one another, offer us a unified variety.

In this collection of poems, short stories, and creative nonfiction, twenty-five writers and poets present a broad understanding of the Western woman, sometimes defying and sometimes reinforcing expectations and stereotypes. Perspectives vary from daughters grieving the loss of fathers whose rugged ways resonated with them to mothers striving to share an adoration for the delicacy of nature with their sons. For every woman seeking to conquer the wilderness, another yearns to be tamed by it. These are the stories of natives and Natives, of immigrants from around the world, spanning from eastern states of America to Vietnam in the East. From historical figures toting guns and whips to those who must overcome today’s manifestations of violence against women, these ladies, and so many more, are the Women of the West.

Manifest West is Western Press Books’ literary anthology series. The press, affiliated with Western State Colorado University, produces one anthology annually and focuses on Western regional writing.

The heart of Hollywood’s star-studded film industry for more than a century, Los Angeles and its abundant and ever-changing locales—from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel—have set the scene for a wide variety of cinematic treasures, from Chinatown to Forrest Gump, Falling Down to the coming-of-age classic Boyz n The Hood. This volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle.

 

World Film Locations: Los Angeles pairs fifty incisive synopses of carefully chosen film scenes—both famous and lesser-known—with an accompanying array of evocative full-color film stills, demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness, as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view. Insightful essays throughout turn the spotlight on the important directors, thematic elements, and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features, as well as photographs showing featured locations as they appear now.

 

A guided tour of the City of Angels conducted by the likes of Robert Altman, Nicholas Ray, Michael Mann, and Roman Polanski, World Film Locations: Los Angeles is moreover a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.

An extraordinarily beautiful city that has been celebrated, criticized, and studied in many films, San Francisco is both fragile and robust, at once a site of devastation caused by 1906 earthquake but also a symbol of indomitability in its effort to rebuild afterwards. Its beauty, both natural and manmade, has provided filmmakers with an iconic backdrop since the 1890s, and this guidebook offers an exciting tour through the film scenes and film locations that have made San Francisco irresistible to audiences and auteurs alike.

Gathering more than forty short pieces on specific scenes from San Franciscan films, this book includes essays on topics that dominate the history of filmmaking in the city, from depictions of the Golden Gate Bridge, to the movies Alfred Hitchcock, to the car chases that seem to be mandatory features of any thriller shot there. Some of America’s most famous movies—from Steven Spielberg’s Raiders of the Lost Ark to Hitchcock’s Vertigo to Don Siegel’s Dirty Harry —are celebrated alongside smaller movies and documentaries, such as The Wild Parrots of Telegraph Hill, to paint a complete picture of San Francisco in film. A range of expert contributors, including several members of the San Francisco Film Critics Circle, discuss a range of films from many genres and decades, from nineteenth-century silents to twentieth-century blockbusters

Audiences across the world, as well as many of the world’s greatest film directors—including Buster Keaton, Orson Welles, George Lucas, Francis Ford Coppola, David Fincher, and Steven Soderbergh—have been seduced by San Francisco. This book is the ideal escape to the city by the bay for arm chair travelers and cinephiles alike.