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Donald Worster - An unsettled country: changing landscapes of the American West

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Page iii An Unsettled Country Changing Landscapes of the American West - photo 1
Page iii
An Unsettled Country
Changing Landscapes of the American West
Donald Worster
A Volume in the Calvin P. Horn Lectures
in Western History and Culture
University of New Mexico Press / Albuquerque

title:An Unsettled Country : Changing Landscapes of the American West Calvin P. Horn Lectures in Western History and Culture
author:Worster, Donald.
publisher:University of New Mexico
isbn10 | asin:0826314821
print isbn13:9780826314826
ebook isbn13:9780585187273
language:English
subjectLandscape--West (U.S.)--History, Human beings--Effect of environment on--West (U.S.)--History, Nature--Effect of human beings on--West (U.S.)--History, West (U.S.)--History, West (U.S.)--Geography.
publication date:1994
lcc:F591.W876 1994eb
ddc:978
subject:Landscape--West (U.S.)--History, Human beings--Effect of environment on--West (U.S.)--History, Nature--Effect of human beings on--West (U.S.)--History, West (U.S.)--History, West (U.S.)--Geography.
iv
Library of Congress Cataloging-in-Publication Data
Worster, Donald, 1941
An unsettled country: changing landscapes of the American West /
Donald Worster. 1st ed.
p. cm. (Calvin P. Horn lectures in western history and culture)
Includes bibliographical references and index.
ISBN 0-8263-1481-3. ISBN 0-8263-1482-1 (pbk.)
1. LandscapeWest (U.S.)History. 2. ManInfluence of
environmentWest (U.S.)History. 3. ManInfluence on nature
West (U.S.)History. 4. West (U.S.)History. 5. West (U.S.)
Geography. I. Title. II. Series.
F591.W876 1994
978dc20 93-30331
CIP
1994 by Donald Worster
All rights reserved.
First Edition
Page v
For Wallace Stegner (1909-1993)
Page vii
Contents
Preface
ix
1
The Legacy of John Wesley Powell
1
2
Water as a Tool of Empire
31
3
Other Peoples, Other Lives
55
4
The Warming of the West
91
Notes
121
Index
143

Page ix
Preface
The American West gets complicated if we think about it. The West, we like to say, is a place unlike any othermore colorful, more heroic, more immense in vistas. Yet it is also a cluster of places that can be radically different from each other, as different as the Staked Plains of Texas are from the Upper Yellowstone river valley; and it is a place offering many ecological similarities to regions on many continents, from Africa to Australia. The West, we also boast, is a place we humans have created out of raw matter with our minds and labor. In fact it is more than our creation: it is the work of nature, too.
None of the West's major landformsfrom the loess beds of Nebraska, to the Grand Canyon, to the California coastal plate pushing north toward Alaskais the product of human effort. We could never have made any of them. Consider the amount of labor it would take merely to move Point Reyes to Mendocino and one sees the limited role people can play in making the place. We have named the region the "American West"using English and Italian words, and we have carved out cities and states that bear other names. The work we have done in settling the region has changed the chemistry of the soil and air, as they have the populations of fauna and flora, and these are not negligible achievements. But such cultural creations form only part of the landscape, and undoubtedly in the long run they are not even the most enduring part.
Much of what we mean by the West is what we have found there in a state of nature. The quality of light and shadows falling over the land inevitably comes to mind when we think of the region. Or the way bunchgrasses and sagebrush disperse across the dry earth, forming pat-
Page x
terns based on millions of years of biological evolution. Or the West is the sound of mountain water to our ears, the smell of dust in our nostrils, the sight of vast lava beds stretching to the horizon. All of those elements of nature become sensations in the human mind and stimulate wonderfully rich ideas and feelings; but to restrict the place only to those inner meanings would be extremely arbitrary. A place like the West must be discovered as well as invented.
Our culture, both in its popular and elite forms, frequently denies this more complex truth. For example, one of John Ford's film masterpieces, The Man Who Shot Liberty Valance, released in 1962, illustrates how popular storytellers have sometimes forgotten what truly has made the West what it is. The story opens on a scene of bustling civilization, filled with railroads, brick buildings, and middle-class homes that have replaced the wild frontier. Most of the rest of the movie is a flashback to explain how it all happened. Violent men once fought for supremacy, the film recalls, but law won out. The town moved from rule by might to rule by democratic elections. According to the film, the story of the West is one of turning nature into artifact. As the leading female character says near the end, looking from a railroad car window onto the improved scene, "It was once a wilderness, now it's a garden."
By modern ideas of justice, Ford may not seem adequately enlightened because he puts white males in the foreground of that creative process. Today, many historians would insist that the making of the West must be seen as the work equally of women and of men, and of Indians, Hispanos, African-Americans, and other citizens, too. But commonly historians along with filmmakers, liberals along with conservatives, and humans of all varieties agree on one conclusion: nature was passive and ineffectual, a blank slate without form or meaning, before humans arrived, and the land contributed nothing to the triumph of civilization. Human imagination and human labor have made the region what it is and have given meaning to the West.
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