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• W2764038737 abstract "1 0 6 W e s t e r n A m e r ic a n l it e r a t u r e S p r in g 2 0 0 7 visual history of the West” (38). Smyth points out the obstacles to filming the novel at all: such as RKO’s financial instability and the recent failures of other epic treatments of the West. She also goes into some detail about the way that the actual film embodied Estabrook’s vision, and she argues that students of Westerns have ignored or disparaged Cimarron because it does not support dominant expansionist ideology. Kathleen A. McDonough takes a comparative approach in “Wee Willie Winkie Goes West: The Influence of the British Empire Genre on Ford’s Cavalry Trilogy.” The empire genre was popular in the 1930s when American filmmakers began to recognize the dangers of fascism and England as a line of defense. After World War II, America replaced Britain as the dominant force in world affairs, and the cavalry films emphasized the spread of civilization (versus the Western’s emphasis on the individual) and the positive role of women as civilizing forces in the goal of assimilating former enemies. Unlike the “adult” Westerns, which were pessimistic about the viability of social institutions (see also Matthew J. Costello’s “Rewriting High Noon” in this collection), these films held hope for society as well as the individual. These essays are more equal than some others in the collection— most of which are workmanlike; a few smell of the seminar room; one or two seem, in Lucky Jim’s words, to be “a pseudo-investigation of non-problems.” But as a whole the collection justifies Ray Merlock’s view that “rethinking, reimagining , and realigning the Western with contemporary issues of race, class, gender, and violence will lead to newly refined ... critical, cultural, and historical analysis” (xi). Students will also be grateful for the extensive filmography and bibliogra­ phy, though some may wonder at a writer who feels compelled to describe what Hereford cattle look like, or the reliability of the editors, who regard Blazing Saddles as “the most mindless” Western comedy (20). A Woman’s Place: Women W riting New Mexico. By Maureen E. Reed. Albuquerque: University of New Mexico Press, 2005. 355 pages, $21.95. Reviewed by Marta Lysik Humboldt-Universität, Berlin A Woman’s Place: Women Writing New Mexico by Maureen Reed spotlights the lives of six twentieth-century New Mexican women through the prism of what Reed dubs “homesickness,” a term denoting the irreconcilability of the imagined and the real homeland. The romanticized image of “The Land of Enchantment,” a multicultural paradise promised by travel guidebooks, clashes with the quotid­ ian effort of border crossing. The trailblazing activism of these women, informed by both tradition and modernity, was aimed at preserving the cultural heritage and contributing to the ideal of a multicultural state. B O O K REVIEW S 1 0 7 Reed devotes the first chapter to two Anglo-American women, Mabel Dodge Luhan and Mary Austin, literary figures and activists who advocated American Indian cultural and political matters. However, these “romantic multicultural activists” idealized the Southwest as representing an “unchang­ ing tradition” and entirely ignored socioeconomic issues (122, 20). In the next chapter, Reed examines the work ofCleofas Jaramillo, a Hispanic woman bom into an elite family. In Romance ofa LittleVillage Girl (1955), Jaramillo idealizes the cultural history of New Mexico yet has a realistic approach to the Anglo conquest and its repercussions. A folklorist, she wrote down her mother’s stories and founded La Sociedad Folklórica. While cultivating tradition and heritage, she embraced the past as a means of change. The next generation of New Mexican women activists more overtly real­ ized the shortcomings ofclinging to tradition. The first ofthese, Fabiola Cabeza de Baca, Reed explores in chapter three. Cabeza de Baca, with her The Good Life: New Mexico Traditions and Food (1949) and We Fed Them Cactus (1954), provided historical and cultural accounts critical of static notions governing everyday life. A teacher, home economist, writer, and activist, Cabeza de Baca saw New Mexico as “a changing multicultural home” and was..." @default.
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• W2764038737 date "2007-01-01" @default.
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• W2764038737 title "A Woman’s Place: Women Writing New Mexico by Maureen E. Reed" @default.
• W2764038737 doi "https://doi.org/10.1353/wal.2007.0013" @default.
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