How the Myth of the American Frontier Got Its Start

Frederick Jackson Turner’s thesis informed decades of scholarship and culture. Then he realized he was wrong

Illustration of people on horseback looking at an open landscape
Illustration by Eva Vázquez

On the evening of July 12, 1893, in the hall of a massive new Beaux-Arts building that would soon house the Art Institute of Chicago, a young professor named Frederick Jackson Turner rose to present what would become the most influential essay in the study of U.S. history.

It was getting late. The lecture hall was stifling from a day of blazing sun, which had tormented the throngs visiting the nearby Chicago World’s Columbian Exposition, a carnival of never-before-seen wonders, like a fully illuminated electric city and George Ferris’ 264-foot-tall rotating observation wheel. Many of the hundred or so historians attending the conference, a meeting of the American Historical Association (AHA), were dazed and dusty from an afternoon spent watching Buffalo Bill’s Wild West show at a stadium near the fairground’s gates. They had already sat through three other speeches. Some may have been dozing off as the thin, 31-year-old associate professor from the University of Wisconsin in nearby Madison began his remarks.

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This article is a selection from the January/February 2023 issue of Smithsonian magazine

Turner told them the force that had forged Americans into one people was the frontier of the Midwest and Far West. In this virgin world, settlers had finally been relieved of the European baggage of feudalism that their ancestors had brought across the Atlantic, freeing them to find their true selves: self-sufficient, pragmatic, egalitarian and civic-minded. “The frontier promoted the formation of a composite nationality for the American people,” he told the audience. “In the crucible of the frontier, the immigrants were Americanized, liberated and fused into a mixed race, English in neither nationality nor characteristics.”

The audience was unmoved.

In their dispatches the following morning, most of the newspaper reporters covering the conference didn’t even mention Turner’s talk. Nor did the official account of the proceedings prepared by the librarian William F. Poole for The Dial, an influential literary journal. Turner’s own father, writing to relatives a few days later, praised Turner’s skills as the family’s guide at the fair, but he said nothing at all about the speech that had brought them there.

Yet in less than a decade, Turner would be the most influential living historian in the United States, and his Frontier Thesis would become the dominant lens through which Americans understood their character, origins and destiny. Soon, Jackson’s theme was prevalent in political speech, in the way high schools taught history, in patriotic paintings—in short, everywhere. Perfectly timed to meet the needs of a country experiencing dramatic and destabilizing change, Turner’s thesis was swiftly embraced by academic and political institutions, just as railroads, manufacturing machines and telegraph systems were rapidly reshaping American life.

By that time, Turner himself had realized that his theory was almost entirely wrong.


American historians had long believed that Providence had chosen their people to spread Anglo-Saxon freedom across the continent. As an undergraduate at the University of Wisconsin, Turner was introduced to a different argument by his mentor, the classical scholar William Francis Allen. Extrapolating from Darwinism, Allen believed societies evolved like organisms, adapting themselves to the environments they encountered. Scientific laws, not divine will, he advised his mentee, guided the course of nations. After graduating, Turner pursued a doctorate at Johns Hopkins University, where he impressed the history program’s leader, Herbert Baxter Adams, and formed a lifelong friendship with one of his teachers, an ambitious young professor named Woodrow Wilson. The connections were useful: When Allen died in 1889, Adams and Wilson aided Turner in his quest to take Allen’s place as head of Wisconsin’s history department. And on the strength of Turner’s early work, Adams invited him to present a paper at the 1893 meeting of the AHA, to be held in conjunction with the World’s Congress Auxiliary of the World’s Columbian Exposition.

a painting depicting the idea of Manifest Destiny
The fantastical 1872 painting American Progress, commissioned to boost travel to the West, depicts the frontier as a place to be conquered. Library of Congress

The resulting essay, “The Significance of the Frontier in American History,” offered a vivid evocation of life in the American West. Stripped of “the garments of civilization,” settlers between the 1780s and the 1830s found themselves “in the birch canoe” wearing “the hunting shirt and the moccasin.” Soon, they were “planting Indian corn and plowing with a sharp stick” and even shouting war cries. Faced with Native American resistance—Turner largely overlooked what the ethnic cleansing campaign that created all that “free land” might say about the American character—the settlers looked to the federal government for protection from Native enemies and foreign empires, including during the War of 1812, thus fostering a loyalty to the nation rather than to their half-forgotten nations of origin.

He warned that with the disappearance of the force that had shaped them—in 1890, the head of the Census Bureau concluded there was no longer a frontier line between areas that had been settled by European Americans and those that had not—Americans would no longer be able to flee west for an easy escape from responsibility, failure or oppression. “Each frontier did indeed furnish a new field of opportunity, a gate of escape from the bondage of the past,” Turner concluded. “Now … the frontier has gone, and with its going has closed the first period of American history.”

When he left the podium on that sweltering night, he could not have known how fervently the nation would embrace his thesis.

a head and shoulders portrait of a man with parted hair and a mustache wearing a bowtie
Frederick Jackson Turner, just a couple of years before the 1893 lecture that would enlarge Americans’ sense of their destiny. Wiki Commons

Like so many young scholars, Turner worked hard to bring attention to his thesis. He incorporated it into the graduate seminars he taught, lectured about it across the Midwest and wrote the entry for “Frontier” in the widely read Johnson’s Universal Cyclopædia. He arranged to have the thesis reprinted in the journal of the Wisconsin Historical Society and in the AHA’s 1893 annual report. Wilson championed it in his own writings, and the essay was read by hundreds of schoolteachers who found it reprinted in the popular pedagogical journal of the Herbart Society, a group devoted to the scientific study of teaching. Turner’s big break came when the Atlantic Monthly’s editors asked him to use his novel viewpoint to explain the sudden rise of populists in the rural Midwest, and how they had managed to seize control of the Democratic Party to make their candidate, William Jennings Bryan, its nominee for president. Turner’s 1896 Atlantic Monthly essay, which tied the populists’ agitation to the social pressures allegedly caused by the closing of the frontier—soil depletion, debt, rising land prices—was promptly picked up by newspapers and popular journals across the country.

Meanwhile, Turner’s graduate students became tenured professors and disseminated his ideas to the up-and-coming generation of academics. The thrust of the thesis appeared in political speeches, dime-store western novels and even the new popular medium of film, where it fueled the work of a young director named John Ford who would become the master of the Hollywood western. In 1911, Columbia University’s David Muzzey incorporated it into a textbook—initially titled History of the American People—that would be used by most of the nation’s secondary schools for half a century.

Americans embraced Turner’s argument because it provided a fresh and credible explanation for the nation’s exceptionalism—the notion that the U.S. follows a path soaring above those of other countries—one that relied not on earlier Calvinist notions of being “the elect,” but rather on the scientific (and fashionable) observations of Charles Darwin. In a rapidly diversifying country, the Frontier Thesis denied a special role to the Eastern colonies’ British heritage; we were instead a “composite nation,” birthed in the Mississippi watershed. Turner’s emphasis on mobility, progress and individualism echoed the values of the Gilded Age—when readers devoured Horatio Alger’s rags-to-riches stories—and lent them credibility for the generations to follow.

a still from the television The Lone Ranger with the main characters on horseback
Clayton Moore in the title role and Jay Silverheels as Tonto in “The Lone Ranger”—one of many shows and films that drew on Turner’s initial vision of the frontier. Everett Collection

But as a researcher, Turner himself turned away from the Frontier Thesis in the years after the 1890s. He never wrote it down in book form or even in academic articles. He declined invitations to defend it, and before long he himself lost faith in it.

For one thing, he had been relying too narrowly on the experiences in his own region of the Upper Midwest, which had been colonized by a settlement stream originating in New England. In fact, he found, the values he had ascribed to the frontier’s environmental conditioning were actually those of this Greater New England settlement culture, one his family and most of his fellow citizens in Portage, Wisconsin, remained part of, with their commitment to strong village and town governments, taxpayer-financed public schools and the direct democracy of the town meeting. He saw that other parts of the frontier had been colonized by other settlement streams anchored in Scots-Irish Appalachia or in the slave plantations of the Southern lowlands, and he noted that their populations continued to behave completely differently from one another, both politically and culturally, even when they lived in similar physical environments. Somehow settlers moving west from these distinct regional cultures were resisting the Darwinian environmental and cultural forces that had supposedly forged, as Turner’s biographer, Ray Allen Billington, put it, “a new political species” of human, the American. Instead, they were stubbornly remaining themselves. “Men are not absolutely dictated to by climate, geography, soils or economic interests,” Turner wrote in 1922. “The influence of the stock from which they sprang, the inherited ideals, the spiritual factors, often triumph over the material interests.”

Turner spent the last decades of his life working on what he intended to be his magnum opus, a book not about American unity but rather about the abiding differences between its regions, or “sections,” as he called them. “In respect to problems of common action, we are like what a United States of Europe would be,” he wrote in 1922, at the age of 60. For example, the Scots-Irish and German small farmers and herders who settled the uplands of the southeastern states had long clashed with nearby English enslavers over education spending, tax policy and political representation. Turner saw the whole history of the country as a wrestling match between these smaller quasi-nations, albeit a largely peaceful one guided by rules, laws and shared American ideals: “When we think of the Missouri Compromise, the Compromise of 1850, the Kansas-Nebraska Act, as steps in the marking off of spheres of influence and the assignment of mandates [between nations] … we see a resemblance to what has gone on in the Old World,” Turner explained. He hoped shared ideals—and federal institutions—would prove cohesive for a nation suddenly coming of age, its frontier closed, its people having to steward their lands rather than striking out for someplace new.

Like a band that can’t escape the shadow of its early number one hit, though, Turner couldn’t get Americans interested in his new argument. The Frontier Thesis was still wildly popular, and the differences he now identified within and between the regions were, he was told, withering away in the face of the unifying forces of the telegraph, railroads, radio, universal education, rural mail delivery and motion pictures. Further, Turner was a congenital procrastinator, missing his publisher’s deadlines year after year, decade after decade. When he died in March 1932, he had filled 60 file boxes with notes and materials, but his big book remained unfinished.
a man in a suit at a podium gives a speech
Accepting his party’s nomination for the presidency in 1960, Senator John F. Kennedy unveiled his vision for a
“New Frontier.” Getty Images
Turner’s earlier myth of American exceptionalism, innocence and unity proved far more appealing than his less-than-reassuring alternative: a country that might forever remain divided against itself. Accordingly, the Frontier Thesis lived on long after his death, even as a new generation of academics continue to debunk many of its assertions. It infused Hollywood westerns and postwar television shows. It influenced the rhetoric of John F. Kennedy—whose “New Frontier” speech evoked the “pioneers of old” who built a new world in the West that was devoted to “the common cause”—and of Ronald Reagan, who said in 1982 that the space shuttle program would help renew America. “The conquest of new frontiers for the betterment of our homes and families is a crucial part of our national character,” Reagan said. “In the future, as in the past, our freedom, independence and national well-being will be tied to new achievements, new discoveries and pushing back new frontiers.”