Free Lethal Passage by Erik Larson

actor’s face.In 1992, Colt introduced a new .44-caliber revolver, the Colt Anaconda. The gun embodied a modern design, but Colt nonetheless linked the gun to the company’s frontier heritage. The headline read: “The Legend Lives, Larger Than Ever.”
    The master at marketing guns that evoke the Old West, however, is Sturm, Ruger & Co. of Southport, Connecticut. In 1953 its founder and chief executive, William Ruger, sensing that the advent of Hollywood and TV westerns signaled a marketing opportunity, introduced a line of single-action revolvers intended to resemble the old Colt Peacemaker, which Colt at the time no longer produced. Ruger sold 1.5 million of the guns. But the company had made them too authentic, to the point of retaining the old Colt’s propensity to fire when dropped. Sturm, Ruger halted production of the guns in 1973 when it introduced a line of similar revolvers equipped with a safety device to prevent such accidents. By mid-1993, however, the old guns had been linked to accidental firings that had injured more than six hundred men, women, and children, killing at least forty.
    One case merged present and past, myth and reality. In the autumn of 1979, a young woman named Kelly Nix set out from Phoenix, Arizona, and headed for Tombstone to take part in the city’s annual “Helldorado Days,” a celebration of the city’s history. She was accompanied by her sister and her sister’s boyfriend. They stoppedat a motel in Tucson. The boyfriend had brought his Ruger single-action revolver—the early version without the new safety device—and for reasons no one can explain was carrying the gun by the holster belt inside the motel room. The gun fell from its holster just as Nix emerged from the bathroom. The gun fired; the bullet struck her heart and killed her.
    Ruger continues to introduce new guns intended for the same Wild West market. In 1993, for example, Ruger introduced the Ruger Vaquero, a single-action revolver resembling the Colt Peacemaker. Its 1993 catalog said the gun was “sure to be a hit with traditionalists and participants in Old West action shoots.”
    Practicing for these action shoots can be profoundly hazardous.A report in Ruger’s product-liability log captures in a few terse words a lethal side effect of frontier mythology. A Canadian man had shot himself to death with a Ruger frontier-style revolver while twirling the gun and practicing quick draw. The log entry reads: “He was found with a western-style quick-draw holster around his waist and a stopwatch in his hand in front of a full-length mirror.”
    How do we measure the deeper, psychic impact of a century’s worth of myth building? “It is quite impossible to conceive the cultural imagery which ‘Gunsmoke’ and its dozens of imitators have created,” wrote historian Frank Prassel. “Impact must be measured in tens of billions of viewer hours on an international scope, for such series are broadcast throughout the world in many languages. Yet it is here rather than in fact that the American derives his typical impression of the West.”
    Guns and violence were integral components of all film and TV westerns. “ … Since the western offers itself as a myth of American origins,” Richard Slotkin observed, “it implies that its violence is an essential and necessary part of the process through which American society was established and through which its democratic values are defended and enforced.”
    The seamless barrage of dime novels, movies, and television conflated guns with history. In this milieu, any attempt to regulate thefree flow of guns becomes nothing less than an effort to repudiate history.In 1970, historian Richard Hofstadter framed the central enigma of America’s enthusiasm for guns: “In some measure our gun culture owes its origins to the needs of an agrarian society and to the dangers and terrors of the frontier, but for us the central question must be why it has survived into an age in