Popular Culture Review Vol. 27, No. 1, Winter 2016 | Page 54

corruption and the criminal element run amok (Slotkin 11). In his discussion of the Myth of the Frontier, Slotkin documents the prevalence of violence in the Myth of the Frontier and its connection to societal advancement (11). Societal advancement is central to the myth, in that according to Slotkin the Myth existed to, first, defend the colonization of America  and  then,  second,  “the  Myth  was  called  on  to  account  for  our  rapid  economic   growth, our emergence as a powerful nation-state, and our distinctively American approach to the socially and culturally disruptive processes  of  modernization”  (10-11). On the surface, while it may appear Raylan is a remnant of the Frontier long past, he is in actuality an amalgamation of the Old/New West cowboy. While he does not conform to the ideals in Miami—he does not fit in with the image of the Miami marshal so he is quickly sent away—he is accepted in the Lexington office for his skill as a shooter while simultaneously being chastised for his actions. While  Raylan’s  behavior  is  publically  commented  on  as  unacceptable  by  his   colleagues, privately they revere him. For example, in an encounter with the antagonist, Boyd  Crowder,  a  former  friend  of  Raylan’s,  Boyd  draws  on  Raylan  and  Raylan  proceeds   to  shoot  him.  In  1.2,  Art  informs  Raylan  that  AUSA  David  Vasquez  is  examining  Boyd’s   shooting. Incidentally, Raylan gives his reason for shooting Boyd as the same as before:  “What’s  there  to  talk  about?  He  [Boyd]  pulled  first—there  was  a  witness”   (“Riverbrook”).  This  behavior  is  indicative  of  the  gunfighter  figure  as  seen  in  an  interview   with Buffalo  Bill  Cody  (Rosa  40).  Regarding  Hickok’s  performance,  Cody  notes  that  it  is   not his shooting ability that makes him stand out from others, it is his tendency to remain  calm  (Rosa  40).  While  publically  Raylan’s  behavior  is  not  approved  by  some   members  of  the  marshal’s  service,  there  are  those  that  privately  applaud  him  for  his   heroism.  In  1.8,  when  a  convicted  murderer  takes  hostages  in  the  US  Marshal’s  office,  it   is Art who informs Vasquez that Raylan is to shoot the criminal, Cal Wallace, if he has the opportunity, that his action has been approved. While there are those that chastise Raylan  for  his  acts  of  violence,  like  the  Myth  of  the  Frontier,  Raylan’s  use  of  violence   ensures  that  the  way  is  paved  for  “moderniz