“...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.” Civilized SocietyNative AmericansAmerican WestOutlawsRousseauWesternsThe Desert Book:Cinema, A Quarterly Magazine, No. 4, October 1969 Source: Cinema, A Quarterly Magazine, No. 4, October 1969
“In the decade following the Civil War the impetus of the westward movement and the implied pledge of the victorious Republican Party to develop the West were uncontrollable forces urging the agricultural frontier forward. On the level of the imagination it was therefore necessary that the settlers' battle with drought and dust and wind and grasshoppers should be supported by the westward expansion of the myth of the garden. In order to establish itself in the vast new area of the plains, however, the myth of the garden had to confront and overcome another myth of exactly opposed meaning, although of inferior strength - the myth of the Great American Desert.” Republican PartyAmerican WestPlainsAmerican FrontierThe Desert Book:Virgin Land: The American West as Symbol and Myth Source: Virgin Land: The American West as Symbol and Myth