Frontier Thesis Quotes

To summarize, (a) the period of European greatness corresponded to the open frontier from 1492-1890, (b) the period of total war corresponded to the closing frontier from 1890-1991 which ushered in a necessarily zero-sum world, (c) the peaceful reopening of the digital frontier could lead us again to a time of greatness, (d) the American and Chinese establishments are trying to close that frontier and trap us into the same steel cage match of the 20th century, (e) but with sufficiently good technology we might be able to escape these political roadblocks and (f) reopen not just a digital frontier, but a physical one: on remote pieces of land, on the sea, and eventually in space. This is what we refer to as the generalized Frontier thesis.

Wilder made history. Sealing her themes inside an unassailably innocent vessel, a novelistic Trojan horse for complex and ambiguous reactions to manifest destiny, wilderness, self-reliance, and changing views of women’s roles outside the home, her books have exercised more influence, across a wider segment of society, than the thesis of Frederick Jackson Turner, which held that American democracy was shaped by settlers conquering the frontier. Their place in our culture continues to evolve.

Rose’s dreams are primarily visions of a personal future, but they are linked to a social vision and to a larger mythos of America by an offhand remark Herbie makes. He tells Rose that when he first saw her, she “looked like a pioneer woman without a frontier.”11 The frontier thesis, as articulated by Frederick Jackson Turner, is a particular manifestation of the American Dream in which the continual movement west in the nineteenth century was a means both of personal advancement (owning land, expanding business, starting over, striking it rich) and of societal evolution (claiming territory, controlling it, exploiting it—all justified and mandated by the guiding master narrative of Manifest Destiny). But by the 1920s, when pioneer woman Rose and her brood set out in pursuit of her dream, there is no more frontier—the West Coast, where the action of the play’s first scenes takes place, is settled. It seems significant that Rose’s father worked for the railroad, that key player in the expansion westward, but is now retired.12 No longer able to head west toward a frontier, Rose loops back into already settled America, Manifest Destiny’s straight, east-to-west line now giving way to a circle, the vaudeville circuit. Gypsy makes use of dreams in multiple senses to articulate a vision of an American society folding back on itself entropically and becoming an image—a dream—of its own myths.

The broad thesis of this book is that we cannot make sense of the United States in the nineteenth century, or the twenty-first for that matter, without taking into account Colt and his revolver. Combined in the flesh of the one and the steel of the other were the forces that shaped what the country became: an industrial powerhouse rising in the east, a violent frontier expanding to the west. In no American object did these two forces of economic and demographic change converge as dynamically and completely as in Colt’s revolver.

In the largest sense, the preservation/sagebrush processes outlined in this story are driven by three basic components of American culture: land ownership, independence, and individualism.

Historical writing about the American West has undergone dramatic changes in the past half century and more. Specifically, historians have moved away from the frontier thesis of Frederick Jackson Turner and turned in new directions: earlier authors such as Henry Nash Smith and Earl Pomeroy helped us understand how the mythic West and western imitations of European and eastern American traditions shaped the history of the region.