Postwestern Horizons – serie

Manifest and Other Destinies critiques Manifest Destiny's exclusive claim as an explanatory national story in order to rethink the meaning and boundaries of the West and of the United States' national identity. Stephanie LeMenager considers the American West before it became a trusted symbol of U.S. national character or a distinct literary region in the later nineteenth century, back when the West was undeniably many wests, defined by international economic networks linking diverse territories and peoples from the Caribbean to the Pacific coast. Many nineteenth-century novelists, explorers, ideologues, and humorists imagined the United States' destiny in what now seem unfamiliar terms, conceiving of geopolitical configurations or possible worlds at odds with the land hunger and "providential" mission most clearly associated with Manifest Destiny. Manifest and Other Destinies draws from an archive of this literature and rhetoric to offer a creative rereading of national and regional borders. LeMenager addresses both canonical and lesser-known U.S. writers who shared an interest in western environments that resisted settlement, including deserts, rivers, and oceans, and who used these challenging places to invent a postwestern cultural criticism in the nineteenth century.Le Menager highlights the doubts and self-reckonings that developed alongside expansionist fervor and predicted contemporary concerns about the loss of cultural and human values to an emerging global order. In Manifest and Other Destinies, the American West offers the United States its first encounter with worlds at once local and international, worlds that, as time has proven, could never be entirely subordinated to the nation's imperial desire.

The test of western literature has invariably been Is it real? Is it accurate? Authentic? The result is a standard anything but literary, as Nathaniel Lewis observes in this ambitious work, a wholesale rethinking of the critical terms and contexts—and thus of the very nature—of western writing. Why is western writing virtually missing from the American literary canon but a frequent success in the marketplace? The skewed status of western literature, Lewis contends, can be directly attributed to the strategies of the region's writers, and these strategies depend consistently on the claim of authenticity. A perusal of western American authorship reveals how these writers effectively present themselves as accurate and reliable recorders of real places, histories, and cultures—but not as stylists or inventors. The imaginative qualities of this literature are thus obscured in the name of authentic reproduction. Through a study of a set of western authors and their relationships to literary and cultural history, Lewis offers a reconsideration of the deceptive and often undervalued history of western American literature. With unequivocal admiration for the literature under scrutiny, Lewis exposes the potential for startling new readings once western writing is freed from its insistence on a questionable authenticity. His book sets out a broader system of inquiry that points writers and critics of western literature in the direction of a new and truly sustaining literary tradition.

Tracing the transnational influences of what has been known as a uniquely American genre, “the Western,” Susan Kollin’s Captivating Westerns analyzes key moments in the history of multicultural encounters between the Middle East and the American West. In particular the book examines how experiences of contact and conflict have played a role in defining the western United States as a crucial American landscape. Kollin interprets the popular Western as a powerful national narrative and presents the cowboy hero as a captivating figure who upholds traditional American notions of freedom and promise, not just in the region but across the globe. Captivating Westerns revisits popular uses of the Western plot and cowboy hero in understanding American global power in the post-9/11 period.Although various attempts to build a case for the war on terror have referenced this quintessential American region, genre, and hero, they have largely overlooked the ways in which these celebrated spaces, icons, and forms, rather than being uniquely American, are instead the result of numerous encounters with and influences from the Middle East. By tracing this history of contact, encounter, and borrowing, this study expands the scope of transnational studies of the cowboy and the Western and in so doing discloses the powerful and productive influence the Middle East has had on the American West.

In this innovative study, Positive Pollutions and Cultural Toxins, John Blair Gamber examines urbanity and the results of urban living—traffic, garbage, sewage, waste, and pollution—arguing for a new recognition of all forms of human detritus as part of the natural world and thus for a broadening of our understanding of environmental literature.  While much of the discourse surrounding the United States' idealistic and nostalgic views of itself privileges "clean" living (primarily in rural, small-town, and suburban settings), representations of rurality and urbanity by Chicanas/Chicanos, African Americans, Asian Americans, and Native Americans, on the other hand, complicate such generalization. Gamber widens our understanding of current ecocritical debates by examining texts by such authors as Octavia Butler, Louise Erdrich, Alejandro Morales, Gerald Vizenor, and Karen Tei Yamashita that draw on the physical signs of human corporeality to refigure cities and urbanity as natural. He demonstrates how ethnic American literature reclaims waste objects and waste spaces—likening pollution to miscegenation—as a method to revalue cast-off and marginalized individuals and communities. Positive Pollutions and Cultural Toxins explores the conjunction of, and the frictions between, twentieth-century U.S. postcolonial studies, race studies, urban studies, and ecocriticism, and works to refigure this portrayal of urban spaces.

Since the recent republication of her novel The Squatter and the Don, María Amparo Ruiz de Burton (1832–95) has become a key figure in the recovery of nineteenth-century Mexican American literature. An aristocratic Californiana, she championed the rights of Mexican Americans in novels, plays, and letters. Her 1885 novel called attention to the illegal appropriation of Mexican land by the United States government, and she critiqued the political mores of America after the Civil War in light of the Mexican-American war. Her keen assessment of corporate capitalism at the end of the nineteenth century, frank acknowledgment of feminine desire, and deft insights about economic realities and class relations were unique among her American peers. Using Ruiz de Burton's work to analyze the critical schism conventionally imposed on nineteenth-century literary culture in America, the essays in this collection also draw connections between her work and the contemporary Chicana and Chicano canons. At once richly historical and critically nuanced, these essays appraise a politically complex Mexican American writer alternately celebrated as marginalized and censured for her identification with a social elite. This volume includes a section on pedagogy that offers a discussion of teaching approaches, syllabi, discussion questions, and assignments.

During the post-World War II period, the Western, like America's other great film genres, appeared to collapse as a result of revisionism and the emergence of new forms. Perhaps, however, as theorists like Gilles Deleuze suggest, it remains, simply "maintaining its empty frame." Yet this frame is far from empty, as Post-Westerns shows us: rather than collapse, the Western instead found a new form through which to scrutinize and question the very assumptions on which the genre was based. Employing the ideas of critics such as Deleuze, Jacques Derrida, and Jacques Rancière, Neil Campbell examines the haunted inheritance of the Western in contemporary U.S. culture. His book reveals how close examination of certain postwar films—including Bad Day at Black Rock, The Misfits, Lone Star, Easy Rider, Gas Food Lodging, Down in the Valley, and No Country for Old Men—reconfigures our notions of region and nation, the Western, and indeed the West itself.Campbell suggests that post-Westerns are in fact "ghost-Westerns," haunted by the earlier form's devices and styles in ways that at once acknowledge and call into question the West, both as such and in its persistent ideological framing of the national identity and values.

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.

Is the American West in Sergio Leone's "spaghetti westerns" the same American West we find in Douglas Coupland's Generation X? In Jim Jarmusch's movies? In Calexico's music? Or is the American West, as this book tells us, a constantly moving, mutating idea within a complex global culture? And what, precisely (or better yet, imprecisely) does it mean? Using Gilles Deleuze and Félix Guattari's concept of the rhizome, Neil Campbell shows how the West (or west-ness) continually breaks away from a mainstream notion of American "rootedness" and renews and transforms itself in various cultural forms. A region long traversed by various transient peoples (from tribes and conquerors to immigrants, traders, and trappers), the West reflects a mythic quest for settlement, permanence, and synthesis—even notions of a national or global identity—at odds with its rootless history, culture, and nature. Crossing the concept of "roots" with "routes," this book shows how notions of the West—in representations ranging from literature and film to photography, music, and architectural theory—give expression to ideas about identity, nationhood, and belonging in a world increasingly defined by movement across time and borders. The Rhizomatic West offers a new vision of the American West as a hybrid, performative space, a staging place for myriad intersecting and constantly changing identities.

In no other region of the United States has the notion of authenticity played such an important yet elusive role as it has in the West. Though pervasive in literature, popular culture, and history, assumptions about western authenticity have not received adequate critical attention. Given the ongoing economic and social transformations in this vast region, the persistent nostalgia and desire for the "real" authentic West suggest regional and national identities at odds with themselves. True West explores the concept of authenticity as it is used to invent, test, advertise, and read the West. The fifteen essays collected here apply contemporary critical and cultural theory to western literary history, Native American literature and identities, the visual West, and the imagining of place. Ranging geographically from the Canadian Prairies to Buena Park's Entertainment Corridor in Southern California, and chronologically from early tourist narratives to contemporary environmental writing, True West challenges many assumptions we make about western writing and opens the door to an important new chapter in western literary history and cultural criticism.

Postwestern Cultures synthesizes the most critical topics of contemporary scholarship of the American West within a single volume. This interdisciplinary anthology features leading scholars in the varied fields of western American literary studies and includes new regional studies, global studies, studies of popular culture, environmental criticism, gender and queer theory, and multiculturalism. Postwestern Cultures, like all successful studies of western American literature, is necessarily diverse and wide-ranging; it grasps the multifaceted quality of the landscape, literature, and critical analysis by engaging postmodern theory, spatial theory, cultural studies, and transnational and transcultural understandings of the local. This collection emphasizes the importance of understanding the region not as a confined or static space but as a constantly changing entity in both substance and form. It examines subjects ranging from the use of frontier rhetoric in Japanese American internment camp narratives to the emergence of agricultural tourism in the New West to the application of geographer J. B. Jackson's theories to abandoned western landscapes.

Dirty Words in “Deadwood” showcases literary analyses of the Deadwood television series by leading western American literary critics. Whereas previous reaction to the series has largely addressed the question of historical accuracy rather than intertextuality or literary complexity, Melody Graulich and Nicolas S. Witschi’s edited volume brings a much-needed perspective to Deadwood’s representation of the frontier West.As Graulich observes in her introduction: “With its emotional coherence, compelling characterizations, compressed structural brilliance, moral ambiguity, language experiments, interpretation of the past, relevance to the present, and engagement with its literary forebears, Deadwood is an aesthetic triumph as historical fiction and, like much great literature, makes a case for the humanistic value of storytelling.” From previously unpublished interviews with series creator David Milch to explorations of sexuality, disability, cinematic technique, and western narrative, this collection focuses on Deadwood as a series ultimately about the imagination, as a verbal and visual construct, and as a literary masterpiece that richly rewards close analysis and interpretation.

At a time when print and film have shown the classic Western and noir genres to be racist, heteronormative, and neocolonial, Sara Humphreys’s Manifest Destiny 2.0 asks why these genres endure so prolifically in the video game market. While video games provide a radically new and exciting medium for storytelling, most game narratives do not offer fresh ways of understanding the world.Video games with complex storylines are based on enduring American literary genres that disseminate problematic ideologies, quelling cultural anxieties over economic, racial, and gender inequality through the institutional acceptance and performance of Anglo cultural, racial, and economic superiority. Although game critics and scholars recognize how genres structure games and gameplay, the concept of genre continues to be viewed as a largely invisible power, subordinate to the computational processes of programming, graphics, and the making of a multimillion-dollar best seller.Investigating the social and cultural implications of the Western and noir genres in video games through two case studies-the best-selling games Red Dead Redemption (2010) and L.A. Noire (2011)-Humphreys demonstrates how the frontier myth continues to circulate exceptionalist versions of the United States. Video games spread the neoliberal and neocolonial ideologies of the genres even as they create a new form of performative literacy that intensifies the genres well beyond their originating historical contexts. Manifest Destiny 2.0 joins the growing body of scholarship dedicated to the historical, theoretical, critical, and cultural analysis of video games.

Horizons of Catastrophe in the American West contributes to discussions in the environmental humanities and western U.S. studies about how we read past cultural history in the light of our determined yet unknown future under climate catastrophe. Examining an eclectic but interrelated and interdisciplinary range of photographs, films, and novels of the West; Western historiography; geological science; Tony Kushner's Angels in America; the Los Angeles freeway system and the city's layered temporalities; and the long poem form among contemporary Indigenous poets, William R. Handley argues that artists within mostly twentieth-century settler cultures saw on past horizons of the West premonitions of catastrophe—without, of course, knowing what their civilization was doing to the atmosphere and what that portended for the planet's future. The possibilities and limits of their artistic forms, Handley shows us, offer a way for us to find hope in the wreckage of the past and to forge a future grounded in environmental realism.

Through all its transformations and reinventions over the past century, “Sin City” has consistently been regarded by artists and cultural critics as expressing in purest form, for better or worse, an aesthetic and social order spawned by neon signs and institutionalized indulgence. In other words, Las Vegas provides a codex with which to confront the problems of the West and to track the people, materials, ideas, and virtual images that constitute postregional space.Morta Las Vegas considers Las Vegas and the problem of regional identity in the American West through a case study of a single episode of the television crime drama CSI: Crime Scene Investigation. Delving deep into the interwoven events of the episode titled “4 × 4,” but resisting a linear, logical case-study approach, the authors draw connections between the city-a layered and complex world-and the violent, uncanny mysteries of a crime scene. Morta Las Vegas reveals nuanced issues characterizing the emergence of a postregional West, moving back and forth between a geographical and a procedural site and into a place both in between and beyond Western identity.

For more than a century the cinematic western has been America’s most familiar genre, always teetering on the verge of exhaustion and yet regularly revived in new forms. Why does this outmoded vehicle-with the most narrowly based historical setting of any popular genre-maintain its appeal? In Late Westerns Lee Clark Mitchell takes a position against those critics looking to attach “post” to the all-too-familiar genre. For though the frontier disappeared long ago, though men on horseback have become commonplace, and though films of all sorts have always, necessarily, defied generic patterns, the western continues to enthrall audiences. It does so by engaging narrative expectations stamped on our collective consciousness so firmly as to integrate materials that might not seem obviously “western” at all.Through plot cues, narrative reminders, and even cinematic frameworks, recent films shape interpretive understanding by triggering a long-standing familiarity audiences have with the genre. Mitchell’s critical analysis reveals how these films engage a thematic and cinematic border-crossing in which their formal innovations and odd plots succeed deconstructively, encouraging by allusion, implication, and citation the evocation of generic meaning from ingredients that otherwise might be interpreted quite differently. Applying genre theory with close cinematic readings, Mitchell posits that the western has essentially been “post” all along.

We Who Work the West examines literary representations of class, labor, and space in the American West from 1885 to 2012. Moving from MarÍa Amparo Ruiz de Burton’s representations of dispossessed Californio ranchers in the mid-nineteenth century to the urban grid of early twentieth-century San Francisco in Frank Norris’s McTeague to working and unemployed cowboys in the contemporary novels of Cormac McCarthy and Larry McMurtry, Kiara Kharpertian provides a panoramic look at literary renderings of both individual labor-physical, tangible, and often threatened handwork-and the epochal transformations of central institutions of a modernizing West: the farm, the ranchero, the mine, the rodeo, and the Native American reservation.The West that emerges here is both dynamic and diverse, its on-the-ground organization of work, social class, individual mobility, and collective belonging constantly mutating in direct response to historical change and the demands of the natural environment. The literary West thus becomes more than a locus of mythic nostalgia or consumer fantasy about the American past. It becomes a place where the real work of making that West, as well as the suffering and loss it often entailed, is reimagined.

2020 Choice Outstanding Academic TitleThe 1848 Treaty of Guadalupe Hidalgo, which transferred more than a third of Mexico’s territory to the United States, deferred full U.S. citizenship for Mexican Americans but promised, “in the mean time,” to protect their property and liberty. Erin Murrah-Mandril demonstrates that the U.S. government deployed a colonization of time in the Southwest to insure political and economic underdevelopment in the region and to justify excluding Mexican Americans from narratives of U.S. progress. With In the Mean Time, Murrah-Mandril contends that Mexican American authors challenged modern conceptions of empty, homogeneous, linear, and progressive time to contest U.S. colonization.Taking a cue from Latina/o and borderlands spatial theories, Murrah-Mandril argues that time, like space, is a socially constructed, ideologically charged medium of power in the Southwest. In the Mean Time draws on literature, autobiography, political documents, and historical narratives composed between 1870 and 1940 to examine the way U.S. colonization altered time in the borderlands.Rather than reinforce the colonial time structure, early Mexican American authors exploited the internal contradictions of Manifest Destiny and U.S. progress to resist domination and situate themselves within the shifting political, economic, and historical present. Read as decolonial narratives, the Mexican American cultural productions examined in this book also offer a new way of understanding Latina/o literary history.

Tracing the transnational influences of what has been known as a uniquely American genre, “the Western,” Susan Kollin’s Captivating Westerns analyzes key moments in the history of multicultural encounters between the Middle East and the American West. In particular the book examines how experiences of contact and conflict have played a role in defining the western United States as a crucial American landscape. Kollin interprets the popular Western as a powerful national narrative and presents the cowboy hero as a captivating figure who upholds traditional American notions of freedom and promise, not just in the region but across the globe. Captivating Westerns revisits popular uses of the Western plot and cowboy hero in understanding American global power in the post-9/11 period.Although various attempts to build a case for the war on terror have referenced this quintessential American region, genre, and hero, they have largely overlooked the ways in which these celebrated spaces, icons, and forms, rather than being uniquely American, are instead the result of numerous encounters with and influences from the Middle East. By tracing this history of contact, encounter, and borrowing, this study expands the scope of transnational studies of the cowboy and the Western and in so doing discloses the powerful and productive influence the Middle East has had on the American West.

2023 Ray and Pat Browne Award for Best Edited Collection in Popular and American CultureOne of the greatest untold stories about the globalization of the Western is the key role of comics. Few American cultural exports have been as successful globally as the Western, a phenomenon commonly attributed to the widespread circulation of fiction, film, and television. The Comic Book Western centers comics in the Western’s international success. Even as readers consumed translations of American comic book Westerns, they fell in love with local ones that became national or international sensations.These essays reveal the unexpected cross-pollinations that allowed the Western to emerge from and speak to a wide range of historical and cultural contexts, including Spanish and Italian fascism, Polish historical memory, the ideology of shōjo manga from Japan, British post-apocalypticism and the gothic, race and identity in Canada, Mexican gender politics, French critiques of manifest destiny, and gaucho nationalism in Argentina. The vibrant themes uncovered in The Comic Book Western teach us that international comic book Westerns are not hollow imitations but complex and aesthetically powerful statements about identity, culture, and politics.

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.

2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua Smith’s chapter “Uncle Tom’s Cabin Showdown” won the 2021 Don D. Walker Prize from the Western Literature AssociationWeird Westerns is an exploration of the hybrid western genre-an increasingly popular and visible form that mixes western themes, iconography, settings, and conventions with elements drawn from other genres, such as science fiction, horror, and fantasy. Despite frequent declarations of the western’s death, the genre is now defined in part by its zombie-like ability to survive in American popular culture in weird, reanimated, and reassembled forms.The essays in Weird Westerns analyze a wide range of texts, including those by Native American authors Stephen Graham Jones (Blackfeet) and William Sanders (Cherokee); the cult television series Firefly and The Walking Dead; the mainstream feature films Suicide Squad and Django Unchained; the avant-garde and bizarre fiction of Joe R. Lansdale; the tabletop roleplaying game Deadlands: The Weird West; and the comic book series Wynonna Earp.The essays explore how these weird westerns challenge conventional representations by destabilizing or subverting the centrality of the heterosexual, white, male hero but also often surprisingly reinforce existing paradigms in their inability to imagine an existence outside of colonial frameworks.

2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua Smith’s chapter “Uncle Tom’s Cabin Showdown” won the 2021 Don D. Walker Prize from the Western Literature AssociationWeird Westerns is an exploration of the hybrid western genre-an increasingly popular and visible form that mixes western themes, iconography, settings, and conventions with elements drawn from other genres, such as science fiction, horror, and fantasy. Despite frequent declarations of the western’s death, the genre is now defined in part by its zombie-like ability to survive in American popular culture in weird, reanimated, and reassembled forms.The essays in Weird Westerns analyze a wide range of texts, including those by Native American authors Stephen Graham Jones (Blackfeet) and William Sanders (Cherokee); the cult television series Firefly and The Walking Dead; the mainstream feature films Suicide Squad and Django Unchained; the avant-garde and bizarre fiction of Joe R. Lansdale; the tabletop roleplaying game Deadlands: The Weird West; and the comic book series Wynonna Earp.The essays explore how these weird westerns challenge conventional representations by destabilizing or subverting the centrality of the heterosexual, white, male hero but also often surprisingly reinforce existing paradigms in their inability to imagine an existence outside of colonial frameworks.

Named a 2023 Choice Outstanding Academic TitleIn The Places of Modernity in Early Mexican American Literature, 1848–1948, JosÉ F. Aranda Jr. describes the first one hundred years of Mexican American literature. He argues for the importance of interrogating the concept of modernity in light of what has emerged as a canon of earlier pre-1968 Mexican American literature. In order to understand modernity for diverse communities of Mexican Americans, he contends, one must see it as an apprehension, both symbolic and material, of one settler colonial world order giving way to another more powerful colonialist but imperial vision of North America.Letters, folklore, print culture, and literary production demonstrate how a new Anglo-American political imaginary revised and realigned centuries-old discourses on race, gender, class, religion, citizenship, power, and sovereignty. The “modern,” Aranda argues, makes itself visible in cultural productions being foisted on a “conquered people,” who were themselves beneficiaries of a notion of the modern that began in 1492. For Mexican Americans, modernity is less about any particular angst over global imperial designs or cultures of capitalism and more about becoming the subordinates of a nation-building project that ushers the United States into the twentieth century.

At a time when print and film have shown the classic Western and noir genres to be racist, heteronormative, and neocolonial, Sara Humphreys’s Manifest Destiny 2.0 asks why these genres endure so prolifically in the video game market. While video games provide a radically new and exciting medium for storytelling, most game narratives do not offer fresh ways of understanding the world.Video games with complex storylines are based on enduring American literary genres that disseminate problematic ideologies, quelling cultural anxieties over economic, racial, and gender inequality through the institutional acceptance and performance of Anglo cultural, racial, and economic superiority. Although game critics and scholars recognize how genres structure games and gameplay, the concept of genre continues to be viewed as a largely invisible power, subordinate to the computational processes of programming, graphics, and the making of a multimillion-dollar best seller.Investigating the social and cultural implications of the Western and noir genres in video games through two case studies-the best-selling games Red Dead Redemption (2010) and L.A. Noire (2011)-Humphreys demonstrates how the frontier myth continues to circulate exceptionalist versions of the United States. Video games spread the neoliberal and neocolonial ideologies of the genres even as they create a new form of performative literacy that intensifies the genres well beyond their originating historical contexts. Manifest Destiny 2.0 joins the growing body of scholarship dedicated to the historical, theoretical, critical, and cultural analysis of video games.

Thomas J. Lyon Book Award from the Western Literature AssociationA Planetary Lens delves into the history of the photo-book, the materiality of the photographic image on the page, and the cultural significance of landscape to reassess the value of print, to locate the sites where stories resonate, and to listen to western women’s voices. From foundational California photographers Anne Brigman and Alma Lavenson to contemporary Native poets and writers Leslie Marmon Silko and Joy Harjo, women artists have used photographs to generate stories and to map routes across time and place. A Planetary Lens illuminates the richness and theoretical sophistication of such composite texts.Looking beyond the ideologies of wilderness, migration, and progress that have shaped settler and popular conceptions of the region, A Planetary Lens shows how many artists gather and assemble images and texts to reimagine landscape, identity, and history in the U.S. West. Based on extensive research into the production, publication, and circulation of women’s photo-texts, A Planetary Lens offers a fresh perspective on the entangled and gendered histories of western American photography and literature and new models for envisioning regional relations.

Named a 2023 Choice Outstanding Academic TitleIn The Places of Modernity in Early Mexican American Literature, 1848–1948, JosÉ F. Aranda Jr. describes the first one hundred years of Mexican American literature. He argues for the importance of interrogating the concept of modernity in light of what has emerged as a canon of earlier pre-1968 Mexican American literature. In order to understand modernity for diverse communities of Mexican Americans, he contends, one must see it as an apprehension, both symbolic and material, of one settler colonial world order giving way to another more powerful colonialist but imperial vision of North America.Letters, folklore, print culture, and literary production demonstrate how a new Anglo-American political imaginary revised and realigned centuries-old discourses on race, gender, class, religion, citizenship, power, and sovereignty. The “modern,” Aranda argues, makes itself visible in cultural productions being foisted on a “conquered people,” who were themselves beneficiaries of a notion of the modern that began in 1492. For Mexican Americans, modernity is less about any particular angst over global imperial designs or cultures of capitalism and more about becoming the subordinates of a nation-building project that ushers the United States into the twentieth century.

2023 Ray and Pat Browne Award for Best Edited Collection in Popular and American CultureOne of the greatest untold stories about the globalization of the Western is the key role of comics. Few American cultural exports have been as successful globally as the Western, a phenomenon commonly attributed to the widespread circulation of fiction, film, and television. The Comic Book Western centers comics in the Western’s international success. Even as readers consumed translations of American comic book Westerns, they fell in love with local ones that became national or international sensations.These essays reveal the unexpected cross-pollinations that allowed the Western to emerge from and speak to a wide range of historical and cultural contexts, including Spanish and Italian fascism, Polish historical memory, the ideology of shōjo manga from Japan, British post-apocalypticism and the gothic, race and identity in Canada, Mexican gender politics, French critiques of manifest destiny, and gaucho nationalism in Argentina. The vibrant themes uncovered in The Comic Book Western teach us that international comic book Westerns are not hollow imitations but complex and aesthetically powerful statements about identity, culture, and politics.

Winner of the 2024 Thomas J. Lyon Book Award Looking across the cultural landscape of the twenty-first century, its literature, film, television, comic books, and other media, we can see multiple examples of what Shelley S. Rees calls a “changeling western,” what others have called “weird westerns,” and what Michael K. Johnson refers to as “speculative westerns”-that is, hybrid western forms created by merging the western with one or more speculative genres or subgenres, including science fiction, fantasy, horror, and alternate history.Speculative Wests investigates both speculative westerns and other speculative texts that feature western settings. Just as “western” refers both to a genre and a region, Johnson’s narrative involves a study of both genre and place, a study of the “speculative Wests” that have begun to emerge in contemporary texts such as the zombie-threatened California of Justina Ireland’s Deathless Divide (2020), the reimagined future Navajo nation of Rebecca Roanhorse’s Sixth World series (2018–19), and the complex temporal and geographic borderlands of Alfredo VÉa’s time travel novel The Mexican Flyboy (2016). Focusing on literature, film, and television from 2016 to 2020, Speculative Wests creates new visions of the American West.

Winner of the 2024 Thomas J. Lyon Book Award Looking across the cultural landscape of the twenty-first century, its literature, film, television, comic books, and other media, we can see multiple examples of what Shelley S. Rees calls a “changeling western,” what others have called “weird westerns,” and what Michael K. Johnson refers to as “speculative westerns”-that is, hybrid western forms created by merging the western with one or more speculative genres or subgenres, including science fiction, fantasy, horror, and alternate history.Speculative Wests investigates both speculative westerns and other speculative texts that feature western settings. Just as “western” refers both to a genre and a region, Johnson’s narrative involves a study of both genre and place, a study of the “speculative Wests” that have begun to emerge in contemporary texts such as the zombie-threatened California of Justina Ireland’s Deathless Divide (2020), the reimagined future Navajo nation of Rebecca Roanhorse’s Sixth World series (2018–19), and the complex temporal and geographic borderlands of Alfredo VÉa’s time travel novel The Mexican Flyboy (2016). Focusing on literature, film, and television from 2016 to 2020, Speculative Wests creates new visions of the American West.