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“...perhaps the Great American Desert's importance to the Western genre derives from the nineteenth-century view of the arid West as the natural refuge of Indians and, by extension, of all outlaws. The agrarian ideal, with its roots in Rousseau's thought, defined civilisation as arising from the agricultural life, so the migratory Indians - often compared in nineteent-century writings to Tartars and Bedouin - were, by reason of their socioeconomic organisation, outside the pale of civilised society and the area in which they moved was regarded as fit only for outlaws. It is as a milieu within which men outside civilised, agrarian society resolve their tensions, both personal and social, that the Western has used the myth of the Great American Desert, as in Riders of Death Valley (Forde Beebe and Ray Taylor, 1941), The Last Wagon (Delmer Daves, 1956), The Law and Jake Wade (John Sturges, 1958) and the Boetticher cycle.”

“It seems fitting, however, that the single Western film which most unambiguously endorses the agrarian ideal, The Covered Wagon, should contain one of the cinema screen's most graphic attacks on Industrialism. The film's intertitles inform viewers that one of the most formidable hazards facing the character of Wingate (Charles Stanton Ogle), the leader of the wagon train, is greed arising from the California gold strike of 1849. Several pioneers opt to dig gold in California rather than plow land in Oregon. In a visual composition symbollically resonant with the importance and irrevocability of that choice, the wagon train divides, one part going north and the other south, while visible in the foreground lie the discarded plows of those who have foresaken the agrarian ideal. These shots from a silent Western summarise a major split in the American psyche.”