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The Popular Western - Coggle Diagram

- - - - western hero – a frontiersman, cowboy, bandit, or sheriff (113) --- as described in DeerSlayer - describes a tall, muscular, goodlooking man, with an expression of earnet purpose, giuless truth & sincerity of feeling..."serves as a moral center to the narrative" (114)
    - - were both sufficiently distant from and implicated in the battles of labor and capital to off er a fi gure of those battles, a fi gure of vengeance and heroism. (114 - footnote 8)
      - Deadwood Dick
        
        Protector of women, enemy of corrupt capitalism , and supporter of Indigenous land rights, Deadwood Dick is a western version of a working-class hero, an almost supernatural agent of social justice and equality. (114)
    - - represented as ultimately incompatible with American domestic life, and thus are figured as savage others to the often even more violent western hero (116)
    - - In Hondo and many other westerns, Native Americans are represented as ultimately incompatible with American domestic life, and thus are figured as savage others to the often even more violent western hero. (116)
- - - - western has also been used to depict more complicated understandings of race and class, in texts such as the autobiography of the black cowboy Nat Love, The Life and Adventures of Nat Love (1907) (120)
  - - - Confederate soldier Tetley convinces a mob to lynch the innocent men. One member of the lynch mob tries to convince...the men not to go through with the lynching, but the dictates of western manhood triumph...Unwilling to appear sympathetic and thus risk seeming femi- nine, the lynch mob kills three innocent men.
        
        makes clear are the ways in which violence in the Western often shores up racial and social hierarchies, and how the nobility and moral code of the western hero can blind us to the realities of violence(122)
- - - - Jane’s religious crisis occupies much of the novel, and she ultimately moves through doubt to embrace a “new revelation of self.”26 ----> reminicent of Eli's journey of self discovery (118)
      - scene that refers to the biblical story of Sodom and Gomorrah, Jane agrees to leave Cottonwoods with Lassiter, after Lassiter has killed the Mormon bishop Dyer (118-119
      - Jane’s embrace of her new life results in a surprisingly pas- sionate appreciation of the Utah landscape....This moment of “sweetness” is then complicated when Lassiter engages in a gunfight. Jane meditates on violence and becomes indifferent to the world...The narrative resolves Jane and Lassiter’s opposed impulses of religious feeling and violent action [avalanche] through nature (119)
      - The novel creates a primitive human family, and their willful seclusion in “Surprise Valley” represents the regeneration of life on the frontier, a life that is “better, cleaner for the ways of men like Lassiter (119)
    - - occurs through love, which is not determined by shared affiliations but develops between strangers (119)