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As beef and cattle production progressed in nineteenth-century America, the cow emerged as the nation's representative food animal and earned a culturally prominent role in the literature of the day. In Cattle Country Kathryn Cornell Dolan examines the role cattle played in narratives throughout the century to show how the struggles within U.S. food culture mapped onto society's broader struggles with colonization, environmentalism, U.S. identity, ethnicity, and industrialization. Dolan examines diverse texts from Native American, African American, Mexican American, and white authors that showcase the zeitgeist of anxiety surrounding U.S. identity as cattle gradually became an industrialized food source, altering the country's culture while exacting a high cost to humans, animals, and the land. From Henry David Thoreau's descriptions of indigenous cuisines as a challenge to the rising monoculture, to Washington Irving's travel narratives that foreshadow cattle replacing American bison in the West, to María Amparo Ruiz de Burton's use of cattle to connect race and imperialism in her work, authors' preoccupations with cattle underscored their concern for resource depletion, habitat destruction, and the wasteful overproduction of a single breed of livestock. Cattle Country offers a window into the ways authors worked to negotiate the consequences of the development of this food culture and, by excavating the history of U.S. settler colonialism through the figure of cattle, sheds new ecocritical light on nineteenth-century literature.
Kathryn Cornell Dolan examines the role cattle played in narratives throughout the nineteenth century to show how the struggles within U.S. food culture mapped onto society’s larger struggles with colonization, environmentalism, U.S. identity, ethnicity, and industrialization.
One of the most colourful chapters in the history of North American settlement began in the 1880s when the rich Alberta grasslands spreading east from the foothills of the Rockies became the magnet for cattle ranching. Award-winning Cattle Kingdom provides readers with all the colourful tales of raffish characters, political intrigues and partnerships, fortunes made and lost, and the harsh realities of prairie winters. The era also gave us the mythic figure of the cowboy, still prominent in Alberta today. Nowhere is the story of ranching more rich and varied than in Alberta. There was an assortment of high rollers, big-money men from the east, English lords and remittance men, along with refugees from the American west and ordinary folk seeking a homestead and a new dream. The newly formed North West Mounted Police was on hand as well. Famous ranches were created during this period, including the Cochrane, the Oxley and the North West Cattle Company (Bar U). The cast of characters included John Ware; the brave and foolhardy Major-General Thomas Bland Strange, who had plans for a ranch for retired British army types; and the scrappy Pat Burns, who parlayed a small slaughterhouse in Calgary into a giant meat-packing and cattle empire. By the time of the first Calgary Stampede in 1912, the cattle kingdom was on the wane. More and more settlers arrived and began fencing and farming the once limitless grazing lands. And then came the discovery of oil. But during its brief and brilliant season in the sun, early ranching in Alberta put an indelible stamp on the history and culture of the Canadian west.
Reproduction of the original: The One-Way Trail by Ridgwell Cullum
Thousands of black cowpunchers drove cattle up the Chisholm Trail after the Civil War, but only Nat Love wrote about his experiences. Born to slaves in Davidson County, Tennessee, the newly freed Love struck out for Kansas after the war. He was fifteen and already endowed with a reckless and romantic readiness. In wide-open Dodge City he joined up with an outfit from the Texas Panhandle to begin a career riding the range and fighting Indians, outlaws, and the elements. Years later he would say, "I had an unusually adventurous life". That was rare understatement. More characteristic was Love's claim: "I carry the marks of fourteen bullet wounds on different parts of my body, most any one of which would be sufficient to kill an ordinary man, but I am not even crippled". In 1876 a virtuoso rodeo performance in Deadwood, Dakota Territory, won him the moniker of Deadwood Dick. He became known as DD all over the West, entering into dime novels as a mysteriously dark and heroic presence. This vivid autobiography includes encounters with Bat Masterson and Billy the Kid, a soon-after view of the Custer battlefield, and a successful courtship. Love left the range in 1890, the year of the official closing of the frontier. Then, as a Pullman train conductor he traveled his old trails, and those good times bring his story to a satisfying end.