titles were sold. The novels relied on a series of predictable literary formulas appealing to mass tastes and were often written in as little as a few days. The most successful of all dime novels was Edward S. Ellis' Seth Jones (1860). Ned Buntline's stories glamorized Buffalo Bill Cody, and Edward L. Wheeler created "Deadwood Dick" and "Hurricane Nell" while featuring Calamity Jane. Buffalo Bill Cody was the most effective popularizer of the Old West in the U.S. and Europe. He presented the first "Wild West" show in 1883, featuring a recreation of famous battles (especially Custer's Last Stand), expert marksmanship, and dramatic demonstrations of horsemanship by cowboys and natives, as well as sure-shooting Annie Oakley. Elite Eastern writers and artists of the late 19th century promoted and celebrated western lore. Theodore Roosevelt, wearing his hats as a historian, explorer, hunter, rancher, and naturalist, was especially productive. Their work appeared in upscale national magazines such as Harper's Weekly featured illustrations by artists Frederic Remington, Charles M. Russell, and others. Readers bought action-filled stories by writers like Owen Wister, conveying vivid images of the Old West. Remington lamented the passing of an era he helped to chronicle when he wrote: 20th century imagery In the 20th century, both tourists to the West, and avid readers enjoyed the visual imagery of the frontier. The Western movies provided the most famous examples, as in the numerous films of John Ford. He was especially enamored of Monument Valley. Critic Keith Phipps says, "its have defined what decades of moviegoers think of when they imagine the American West." The heroic stories coming out of the building of the transcontinental railroad in the mid-1860s enlivened many dime novels and illustrated many newspapers and magazines with the juxtaposition of the traditional environment with the iron horse of modernity. Cowboy images The cowboy has for over a century been an iconic American image both in the country and abroad; recognized worldwide and revered by Americans. Heather Cox Richardson argues for a political dimension to the cowboy image:The timing of the cattle industry’s growth meant that cowboy imagery grew to have extraordinary power. Entangled in the vicious politics of the postwar years, Democrats, especially those in the old Confederacy, imagined the West as a land untouched by Republican politicians they hated. They developed an image of the cowboys as men who worked hard, played hard, lived by a code