Podcasts about Owen Wister

In this episode, Ron investigates one of his favorite TV shows from childhood—The Virginian. Saddle up as he explores the story's origins, and its transformation through literature, film, and radio. The Virginian's evolution from novel to screen shaped a genre. Gary Cooper's portrayal of the character remains a benchmark in Western cinema. What You'll Hear: Ron's memories of The Virginian TV show starring James Drury, and favorite character, Trampus. The History of The Virginian. A literary journey beginning with Owen Wister's 1902 novel, its role in defining the Western genre, and its adaptation into films—highlighting Gary Cooper's iconic performance and his famous line, "When you call me that, smile.” Listen to the 1936 Lux Radio Theater's adaptation of The Virginian, featuring Gary Cooper reprising his role. Learn about one of Hollywood's first gossip columnist, his influence on Tinseltown, and the origin of the term “Oscar." Ron investigates the Virginian's real name—and why it remains a mystery to this day. Thank you for listening to Ron's Amazing Stories—where history, mystery, and classic tales come alive. Ron's Amazing Stories Is Sponsored by: Audible - You can get a free audiobook and a 30 day free trial at . Your Stories: Do you have a story that you would like to share on the podcast or the blog? Head to the main website, click on Story Submission, leave your story, give it a title, and please tell me where you're from. I will read it if I can. Links are below. Music Used In This Podcast: Most of the music you hear on Ron's Amazing Stories has been composed by Kevin MacLeod () and is Licensed under . Other pieces are in the public domain. You can find great free music at which is a site owned by Kevin. Program Info: Ron's Amazing Stories is published each Thursday. You can download it from , stream it on or on the mobile version of . Do you prefer the radio? We are heard every Thursday at 10:00 pm and Sunday Night at 11:00 PM (EST) on . Check your local listing or find the station closest to you at this . Social Links: Contact Links:

One of TV's longest-running Western series, and loosely based on the classic novel by Owen Wister, The Virginian was the first television Western to run 90 minutes rather than 30 or 60 (except a 30-minute pilot had been filmed in 1958, but was never picked up). 

Welcome to Storybounders! Join hosts Jayme and Steve as they explore the legacy of the Western hero. This episode dives into Owen Wister's "The Virginian," the archetypal Western novel that shaped the genre. Jayme and Steve discuss the rich history and cultural significance of the Western hero, examining how stories like "The Virginian" reflect the values of honor, bravery, and integrity. They explore the character dynamics between the Eastern-educated Molly Wood and the rugged Virginian, highlighting the book's themes of love, duty, and moral complexity. The hosts also delve into the historical context, including the rise and fall of the cowboy era, and how Western music and film have perpetuated these iconic tales. They touch on the importance of maintaining a story reservoir, filled with both literary classics and local legends, to understand our cultural heritage. Tune in for an engaging discussion that brings the spirit of the Old West to life and shows how these stories continue to inspire and teach us about resilience, identity, and the human experience. Highlights: Exploration of Owen Wister's "The Virginian" and its impact on the Western genre. Discussion on the cultural and historical significance of the Western hero. Analysis of character dynamics and thematic elements in "The Virginian." The role of storytelling in preserving cultural heritage. Reflections on the enduring appeal of Western music and film. Join us as we uncover the stories that inspire and move us, light up our imaginations, and fill us with hope. Find your story and change the world with Storybounders!

Woah there, Wister — save some tropes for the rest of us. • Explore our Patreon at ⁠patreon.com/wheelofgenre⁠ • Email us at genrepodcast@gmail.com

Happy Holidays! To quote Owen Wister in A Journey in Search of Christmas, I have left this reboot episode "until the lastest day"! I hope I caught you while you're still in the Christmas spirit, and that 2024 brings you health, happiness and peace. In this second special Christmas episode of Wyoming My 307, the German influence of Christmas in Wyoming features strongly. From the first “decorated Christmas in Wyoming” (Wyoming Historical Society) through the early settler period, WWII, and more, Wyoming Christmas has reflected the people and historical events at that time. Check out the shownotes for more details.

Meet Kaylie O'Harra, a dynamic and inspiring woman whose journey from rodeo queen to successful entrepreneur and loving mom has been shaped by the transformative power of her LEMI education. Kaylie's love for classic literature has guided her path, offering wisdom on love, resilience, and human nature. Her story underscores the importance of community and mentors in achieving success. LEMI education has been the catalyst for her growth, providing a platform to explore her passions and apply timeless principles to her life, business, and motherhood. Kaylie's remarkable journey reminds us that with the right support and a hunger for knowledge, we can create a positive impact on the world, all while celebrating the enduring value of classic literature. LINKS The Hiding Place by Corrie Ten Boom Little Britches by Ralph Moody The Phantom Tollbooth by Norton Juster Understanding the Times by David Noebel The Virginian by Owen Wister

Mother was written and published originally in an anthology titled A House Party: An account of stories told at a gathering of famous authors. Wister published the short story in 1907, adding approximately 25% new material at the beginning in order to adequately introduce the story. Owen Wister was best known for his western story The Virginian. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes!  https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Pentecost of Calamity

Lin McLean

Considered the father of western fiction, the writer and historian is best known for his 1902 novel The Virginian, which spawned numerous adaptations in almost every form of media.

It's a debatable proposition which is the great Western novel: The Virginian, by Owen Wister, or Shane, by Jack Schaefer. Both works deal with conflicts on the open range, specifically in Wyoming, and the heroes who resolved them.

Considered by many to be the “First Western Novel,” the 1901 book by Owen Wister was written about a fictionalized version of the very real Johnson County Cattle War. The eponymous “virginian,” was a ranch hand and lawman trying to keep the peace at a ranch near Medicine Bow, WY. The town itself holds the TV show in high esteem, and a hotel was built just a few years after the novel was published with the name “The Virginian,” and was named the most luxurious hotel this side of Denver. Join us as we trace Wister's touch on Wyoming history. HOST Deborah Cobb (debbie@cobbwebb.media) --- Support this podcast: https://anchor.fm/w5podcast/support

Clint Lanier and Dave McArthur discuss the 1902 western novel The Virginian by Owen Wister while drinking Wyoming Whiskey

Gary ClarkeGary Clarke (born Clarke Frederick L'Amoreaux; August 16, 1933) is an American actor best known for his role as Steve Hill in the NBC western television series The Virginian with James Drury and Doug McClure.Clarke began his screen career with the 1958 film Dragstrip Riot, recalling that agent Byron Griffith, who had seen him perform in Glendale, arranged for an audition that eventually led to his filling the lead role. Clarke recalled:I drove from San Gabriel to Hollywood and read for the part, and I got in as a member of the good gang. I went back to work the next day and my agent called me again and he said, ‘Gary, they have just lost the lead in the movie. Can you get down here?' Yes! So I … went home [from work] and changed and went down, and I read every day for five days. I didn't go back to work, I just kept calling in sick.He went on to work in other films, including How to Make a Monster, and Missile to the Moon (both 1958), Date Bait (1960), and Passion Street, U.S.A. (1964).  He has said he was a contract player at Universal Pictures.In the 1960-1961 season, he appeared as Dick Hamilton in the single-season NBC television series Michael Shayne, based on the fictional private detective character created by Brett Halliday, opposite Richard Denning as the title character.  Afterward, he appeared as Tad Kimball, a friend of the character Jess Harper, played by Robert Fuller, in the episode “The Fatal Step” of the NBC Western series Laramie.Clarke played Steve Hill in the cast of the long-running TV Western series The Virginian, remaining on the show from 1962 to 1964. His last series as a cast-member was the 1967 ABC Western Hondo, playing Captain Richards.Clarke said in an interview that his friend and co-star Steve Ihnat and he wrote the screenplay for director Ted V. Mikels' film Strike Me Deadly (1963), though the film's credits list only Ihnat and Mikels. Later that decade, Clarke under his birth name wrote several scripts for the NBC espionage sitcom Get Smart, which introduced the running character Hymie the Robot. All but one of his six produced scripts for the series(“Appointment in Sahara”) is about Hymie.In the 1980s and 1990s, he wrote and produced television public-service announcements including “Youth at Risk”, narrated nonfiction short films including “Promoting Healthy Behavior”, and appeared in TV series including Dynasty and The Young Riders, in which he had a four-episode recurring role. His films in the 2010s include The Paperboy (2012) and Parkland (2013).In 2014, the production company L'Amoreaux/Bartlett/Race/Thomas sought actors for an independent TV pilot, Bandits, and Tadpoles, written by Bartlett and Thomas and directed by Clarke, about a young boy whose daydreams put him in the American Old West of the Owen Wister novel The Virginian. It filmed June 26–30, 2014, near Austin, Texas, under the title Billy and the Bandit, with a cast including James Drury and Roberta Shore, from Clarke's old series The Virginian; 11-year-old Jordan Elsass as Billy; Ava L'Amoreaux and Donny Boaz as his parents; and Buck Taylor as a ranch foreman.

It is very easy to get lost in the Wister family.  Anyone familiar with Philadelphia History probably knows about Caspar Wistar, who founded the Wistar Institute, and author Owen Wister, who wrote the first Western novel “The Virginian” and is buried at Laurel Hill Cemetery.  But this was a large family.  There are 40 Wisters and 30 Wistars buried at Laurel Hill Cemetery, along with 3 Wisters at West Laurel Hill.  Today I am going to talk about four Wister brothers and one of their sons buried at Laurel Hill Cemetery.  William Rotch Wister was lawyer and founder of the Germantown Cricket club.  John Wister was founder and manager of a major iron works and a bank.  Langhorne Wister was a colonel with the Bucktail Regiment during the Civil War, shot through the mouth at the Battle of Gettysburg.  And Rodman Wister ran away from home to become a drummer boy.  John Caspar Wister, son of William Rotch, was considered the dean of horticulturists in the United States.  Their stories are fascinating and informative.  

Scott smiles when he says that. Julie refuses to say that at all. Episode 250: The Virginian by Owen Wister.Download or listen via this link: |Episode #250| Subscribe to the podcast via this link: Feedburner Or subscribe via iTunes by clicking: |HERE|

CHEYENNE, WY: THE GREAT AMERICA OF 1867-1887 The time when Cheyenne was “great” was the years between 1867 and 1887, the years of the cattle boom in Wyoming. Though much has happened since then, Cheyenne continues to celebrate this era and Wyoming's branding as “The Cowboy State” remains central to Wyoming's identity as a state. It is important to understand that the American cowboy, and the cattle industry as we know it, has its origins in Mexican-American traditions in the states along the southern border, but the image of the cowboy in popular culture owes much to the works of author Owen Wister, who is credited with creating the western as a literary genre. Though he set his writings in various places around the west, his two most famous and endearing novels, Lin McLean (1897) and The Virginian: A Horseman of the Plains (1902) took place in, and were based on first-person accounts of, Wyoming during the cattle boom. Together with his illustrators, Charles M. Russell and Frederic Remington, two other great American mythmakers, Wister had helped secure a special place for the Wyoming cowboy in the popular imagination. The origins of the Wyoming cowboy, the beginnings of the cattle boom and the genesis of the city of Cheyenne all happened at the same time. In 1867, the Union Pacific railroad laid track across what would become Wyoming Territory and established a railroad depot at Cheyenne. Within two years, the so-called “Magic City of the Plains” was home to 200 businesses, had a population of 4000 people and was the capitol of the new territory. This growth was powered by the rapid development of the cattle industry. Though there was some ranching in the area since the 1850s, it suffered from lack of access to markets. The railroad not only addressed this problem, it also brought investors from the Eastern States and Britain. This ushered in the era of huge, heavily capitalized cattle operations. It seemed, for a time, that no one could lose money in the cattle business. Cattlemen dominated politics. In 1879, the Cheyenne Club was established in an ostentatious building which nearly dwarfed the territorial capitol. This became the premier gathering place for the biggest players in the cattle industry, and functioned as some ways as a “third house” of the territorial legislature where deals would be made over liquor, cigars and oysters. While this arrangement worked very well for a small number of cattlemen backed by Eastern and foreign financiers, it excluded many Wyoming residents. In their quest to monopolize land and water resources, the heavily capitalized large cattle operations were engaged in conflicts, sometimes violent, around the territory with sheepherders, farmers, and small-time ranchers. Another excluded group seems a little ironic. Though the city was named Cheyenne, the tribe would not be a part of the life of the community. In the 1870s United States was actively at war with the Cheyenne and other plains tribes and the army was initially the primary market for beef. Beyond this, a lot of people got written out of the mythmaking of the period. Though a significant number of cowboys were African-American or Native American, and Mexican-Americans worked the initial cattle drives to Wyoming from Texas, these were not the men elevated by Wister. The author considered the Anglo-American cowboy to be a paragon of the nation's values and dismissed others with words like “mongrel.” His heroes were White, Anglo-Saxon and Protestant, and this shaped the popular notion of the cowboy in Wyoming and beyond. The cattle boom came to an abrupt end in 1887. The number of cattle both exceeded market demand and the capacity of the range to support them. The final blow was a particularly severe winter in 1887. The Cheyenne Club was soon abandoned. Though the industry survived, it was no longer dominant in the same way. -Tom Prezelski, Resident Historian

CHEYENNE, WY: THE GREAT AMERICA OF 1867-1887 The time when Cheyenne was “great” was the years between 1867 and 1887, the years of the cattle boom in Wyoming. Though much has happened since then, Cheyenne continues to celebrate this era and Wyoming's branding as “The Cowboy State” remains central to Wyoming's identity as a state. It is important to understand that the American cowboy, and the cattle industry as we know it, has its origins in Mexican-American traditions in the states along the southern border, but the image of the cowboy in popular culture owes much to the works of author Owen Wister, who is credited with creating the western as a literary genre. Though he set his writings in various places around the west, his two most famous and endearing novels, Lin McLean (1897) and The Virginian: A Horseman of the Plains (1902) took place in, and were based on first-person accounts of, Wyoming during the cattle boom. Together with his illustrators, Charles M. Russell and Frederic Remington, two other great American mythmakers, Wister had helped secure a special place for the Wyoming cowboy in the popular imagination. The origins of the Wyoming cowboy, the beginnings of the cattle boom and the genesis of the city of Cheyenne all happened at the same time. In 1867, the Union Pacific railroad laid track across what would become Wyoming Territory and established a railroad depot at Cheyenne. Within two years, the so-called “Magic City of the Plains” was home to 200 businesses, had a population of 4000 people and was the capitol of the new territory. This growth was powered by the rapid development of the cattle industry. Though there was some ranching in the area since the 1850s, it suffered from lack of access to markets. The railroad not only addressed this problem, it also brought investors from the Eastern States and Britain. This ushered in the era of huge, heavily capitalized cattle operations. It seemed, for a time, that no one could lose money in the cattle business. Cattlemen dominated politics. In 1879, the Cheyenne Club was established in an ostentatious building which nearly dwarfed the territorial capitol. This became the premier gathering place for the biggest players in the cattle industry, and functioned as some ways as a “third house” of the territorial legislature where deals would be made over liquor, cigars and oysters. While this arrangement worked very well for a small number of cattlemen backed by Eastern and foreign financiers, it excluded many Wyoming residents. In their quest to monopolize land and water resources, the heavily capitalized large cattle operations were engaged in conflicts, sometimes violent, around the territory with sheepherders, farmers, and small-time ranchers. Another excluded group seems a little ironic. Though the city was named Cheyenne, the tribe would not be a part of the life of the community. In the 1870s United States was actively at war with the Cheyenne and other plains tribes and the army was initially the primary market for beef. Beyond this, a lot of people got written out of the mythmaking of the period. Though a significant number of cowboys were African-American or Native American, and Mexican-Americans worked the initial cattle drives to Wyoming from Texas, these were not the men elevated by Wister. The author considered the Anglo-American cowboy to be a paragon of the nation's values and dismissed others with words like “mongrel.” His heroes were White, Anglo-Saxon and Protestant, and this shaped the popular notion of the cowboy in Wyoming and beyond. The cattle boom came to an abrupt end in 1887. The number of cattle both exceeded market demand and the capacity of the range to support them. The final blow was a particularly severe winter in 1887. The Cheyenne Club was soon abandoned. Though the industry survived, it was no longer dominant in the same way. -Tom Prezelski, Resident Historian

Owen Wister (1860 - 1938) is often considered the father of western fiction because of his early novels, Lin McLean (1897) and The Virginian (1902). In this episode, Rich reviews Wister's writing life with special attention to How the West was Written, Ron Scheer's three-volume collection of book reviews and blog posts.Support the show (https://www.paypal.com/donate/?token=suROpN0f2hQhThddyTchkgR4CytqmFW705g1jNJV3rCDT8OLxSCXKbf8j0oyifmCvb3fAW&fromUL=true&country.x=US&locale.x=en_US)

History Riders Radio Podcast HRR 3020 for Week 30 of 2020 – Saturday 07/18/2020 to Friday 07/24/2020. History Riders, ride this Week’s Memory Trail with Doc Boyle to discover an event from Western History for each day of the week; all rounded up from the pages of Old West Daily Reader. Subjects Include: The Squaw Fight; Alexander McSween; Cattle Kate; The First Showdown; Owen Wister; Capt. Richard Sopris; Wiseman Massacre. (00:06:58)Please leave a FaceBook “Like” and share our link with a friend. Thanks for the visit! - oldwestdailyreader.comSupport the show (http://oldwestdailyreader.com)

Ever hear of Owen Wister? I hadn't either, but now we both have. Enjoy! --- Send in a voice message: https://anchor.fm/historyhighlights/message

How can Westerns - books and movies - help us understand something about American political culture and ideals? I spoke with Dr. Chris Burkett, Professor of Political Science at Ashland University, about this seemingly odd connection. Below are some links to things we mentioned in the program.   The Virginian, Owen Wister - a trendsetting novel about the Wild West Information on John Locke Thomas Hobbes' Moral and Political Philosophy

Three creators of the mythology of the Wild West are buried at the Laurel Hills: Henry Deringer, inventor of the pocket pistol and father of concealed carry; Owen Wister, who wrote the first definitive Western novel "The Virginian"; and John Batterson Stetson, the man who invented the hat that defines the Old West.  This podcast include interviews with two of Laurel Hill Cemtery's volunteer guides. 

John J. Miller is joined by Dedra Birzer of Hillsdale College to discuss Owen Wister's 'The Virginian.'

Joy sits down to talk with Kristen E. Stewart, the Nathalie L. Klaus Curator of Costume and Textiles, about the history of the The Valentine Museum in Richmond, VA. The swerve through conversations about: the importance of uplifting voices in fashion history scholarship, how many objects are in the costume and textiles department, and why Kristen is so passionate about telling all the stories Richmond has to tell through dress. Stewart started at The Valentine in the fall of 2014. Stewart was most recently a curatorial assistant in San Francisco’s Fine Arts Museums, where she has worked since 2013 in the Caroline & H. McCoy Jones Department of Textile Arts. Resources: https://thevalentine.org/collections/costume-textiles The Virginian by Owen Wister: https://goo.gl/bF1qPM Website: www.unravelpodcast.com Patreon: www.patreon.com/unravelpodcast PayPal: www.paypal.me/unravelpodcast Instagram: @unravelpodcast Twitter: @unravelpodcast Facebook: www.facebook.com/unravelpodcast/ Pinterest: Unravel: A Fashion Podcast www.pinterest.com/afashionpodcast/ Stitcher: www.stitcher.com/podcast/unravel-podcast Waller Gallery Website www.wallergallery.com/ Waller Gallery Instagram: @wallergallery Jasmine's Nicaragua Instagram: @recuerdosdenicaragua

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino's The Hateful Eight grossed over $150 million. Victoria Lamont's Westerns: A Women's History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre's forms, with some books even predating Owen Wister's supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre's female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

Westerns are having a bit of a moment in the early twenty-first century. Westworld was recently nominated for eight Emmys, the hit show Deadwood is slated for a return to television in the next few years, and in 2015 Quentin Tarantino’s The Hateful Eight grossed over $150 million. Victoria Lamont’s Westerns: A Women’s History (University of Nebraska Press, 2016), looks at the first moment of the Western over a century ago. The Western is traditionally thought of as an overtly masculine genre with male writers telling stories about mostly male protagonists (think The Man in Black, John Wayne, and Gus McCrae). Lamont, an associate professor of English at the University of Waterloo, examines several books from the 1880s to the 1920s and argues that women writers were crucial to the development of the genre’s forms, with some books even predating Owen Wister’s supposedly genre-founding title, The Virginian. Moreover, these women published mostly under their own names and found considerable financial success and critical acclaim. In doing so, they used the genre to critique gender roles, class structures, and American colonialism. It was not until the 1920s that mass market literature magazines and pulp publishers began to market Westerns as by, for, and about men, and in doing so erased the genre’s female history. Lamont places these authors in their context, and in doing so reveals much about female life and literature in the turn of the century American West. Stephen Hausmann is a doctoral candidate at Temple University and Visiting Instructor of history at the University of Pittsburgh. He is currently writing his dissertation, a history of race and the environment in the Black Hills and surrounding northern plains region of South Dakota, Wyoming, and Montana. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a country as big and diverse as America, stories are crucially important to our sense of common identity. But where do those stories come from, and who creates them? In this episode, we examine the work of writer Owen Wister, who gave Americans one of the touchstones of our common culture: the cowboy. But beneath the familiar surface of this legendary figure lies a complex web of dark and unexpected ideas. By exploring "The Evolution of the Cow-Puncher," an essay written at the height of the volatile Gilded Age, we gain insight into the origins of the cowboy -- and how myth can overpower truth.

The Lux Radio Theatre. November 2, 1936. CBS net. "The Virginian". Sponsored by: Lux. The classic western about a strong, silent type, who's fast on the draw when he has to be. Guest Sidney Skolsky does a funny "cowboy column." Charles Bickford, Gary Cooper, Cecil B. DeMille, Helen Mack (producer, director, performer), John Howard, Louis Silvers (music director), Sidney Skolsky, Owen Wister (author), Kirke LaShelle (stage adaptor), Richard Cline (physical culture director at Paramount), Chester Clute, Hal K. Dawson, Earle Ross, Norman Field, Ynez Seabury, Frank Nelson (performer, program opening announcer), Lou Merrill, Priscilla Lyon, James Eagles, William Brandt, Ross Forrester (doubles), Elvia Allman (commercial spokesman), Sylvia Farnese (commercial spokesman), Frank Woodruff (director), George Wells (adaptor), Charlie Forsyth (sound effects).