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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1898 edition. Excerpt: ... OUT OF BOYHOOD INTO MANHOOD During the last year in college, the summer before my sixteenth birthday, I became ambitious to help on with my own expenses, and secured a small district school to teach, about six miles away from the college town. It seems remarkable to me, as I think back over it, that the directors ever should have been inveigled into letting me have the school. I was very small for my age at that time, and gave no promise whatever of the stalwart physical proportions to which I was afterward to attain. But my teachers and the county superintendent were partial enough to give me such nattering letters of commendation that I captured the very first school I undertook. It was not a very ambitious academy. The building was made of hewed logs, and had seats and rude desks to accommodate about forty children. I was to receive the munificent sum of twenty dollars a month, and had the privilege of boarding around among the pupils. I did not, however, avail myself of that very much, for I never before had been away from home except with my father, and though I was a pedagogue I had yet a boyish heart, and I think that on full forty-five of the sixty evenings I walked the six miles home, footing it back again next morning, rather than stay among strangers. Quite a number of the boys and girls were older than I, and several of them as large again, but I succeeded in having very good discipline, and I think closed the term with the affections of my pupils. I never shall forget one afternoon, when the county school superintendent, who had been my teacher at one time, and his wife, who had been my classmate, came to visit my school. Their attempts to suppress their amusement at the pretentious dignity with which I ruled over the boys...
On an autumn day in 1895, eighteen-year-old Loyd Montgomery shot his parents and a neighbor in a gruesome act that reverberated beyond the small confines of Montgomery's Oregon farming community. The dispassionate slaying and Montgomery's consequent hanging exposed the fault lines of a rapidly industrializing and urbanizing society and revealed the burdens of pioneer narratives boys of the time inherited. In Pioneering Death, Peter Boag examines the Brownsville parricide as an allegory for the destabilizing transitions within the rural United States at the end of the nineteenth century. While pioneer families celebrated and memorialized founders of western white settler society, their children faced a present and future in frightening decline. Connecting a fascinating true-crime story with the broader forces that produced the murders, Boag uncovers how Loyd's violent acts reflected the brutality of American colonizing efforts, the anxieties of global capitalism, and the buried traumas of childhood in the American West.
In 2002, director Richard Linklater and a crew began filming the “Untitled 12-Year Project.” He cast four actors (Patricia Arquette, Ethan Hawke, Ellar Coltrane, and Lorelei Linklater) in the role of a family and filmed them each year over the next dozen years. Supported by IFC Productions, Linklater, cast, and crew began the commitment of a lifetime that became the film, Boyhood. Seen through the eyes of a young boy in Texas, Boyhood unfolds as the characters—and actors—age and evolve, the boy growing from a soft-faced child into a young man on the brink of his adult life, finding himself as an artist. Photographer Matt Lankes captured the progression of the film and the actors through the lens of a 4x5 camera, creating a series of arresting portraits and behind-the-scenes photographs. His work documents Linklater’s unprecedented narrative that used the real-life passage of years as a key element to the storytelling. Just as Boyhood the film calls forth memories of childhood and lures one into a place of self-reflection, Boyhood: Twelve Years on Film presents an honest collection of faces, placed side-by-side, that chronicles the passage of time as the camera connects with the cast and crew on an intimate level. Revealing, personal recollections by the actors and filmmakers accompany the photographs.
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When Horace Greeley published his famous imperative, “Go West, young man, and grow up with the country,” the frontier was already synonymous with a distinctive type of idealized American masculinity. But Greeley’s exhortation also captured popular sentiment surrounding changing ideas of American boyhood; for many educators, politicians, and parents, raising boys right seemed a pivotal step in securing the growing nation’s future. This book revisits these narratives of American boyhood and frontier mythology to show how they worked against and through one another—and how this interaction shaped ideas about national character, identity, and progress. The intersection of ideas about boyhood and the frontier, while complex and multifaceted, was dominated by one arresting notion: in the space of the West, boys would grow into men and the fledgling nation would expand to fulfill its promise. Frontiers of Boyhood explores this myth and its implications and ramifications through western history, childhood studies, and a rich cultural archive. Detailing surprising intersections between American frontier mythology and historical notions of child development, the book offers a new perspective on William “Buffalo Bill” Cody’s influence on children and childhood; on the phenomenon of “American Boy Books”; the agency of child performers, differentiated by race and gender, in Wild West exhibitions; and the cultural work of boys’ play, as witnessed in scouting organizations and the deployment of mass-produced toys. These mutually reinforcing and complicating strands, traced through a wide range of cultural modes, from social and scientific theorizing to mass entertainment, lead to a new understanding of how changing American ideas about boyhood and the western frontier have worked together to produce compelling stories about the nation’s past and its imagined future.