| Book Review | The Journal of American History, 94.1

You have not been recognized as a subscriber to JAH online. About 166 words from this article are provided below; about 398 words remain.

If you are a individual member of the Organization of American Historians, you may:: • login here if you have already registered for online access.; • Or if you're already logged in register your subscription.
• Set up your online account for the first time.
If you are not a member of the Organization of American Historians, you can:: • Join the OAH and receive many member benefits including print and electronic issues of the Journal of American History.
• Purchase a research pass to gain two-hour access to the entire History Cooperative web site. You will have full access to current issues of the Journal of American History (86.1-present). Note: the Research Pass does not provide access to JSTOR's holdings of the Journal of American History.
Instititutions can:: • Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.

| Book Review | The Journal of American History, 94.1 | The History Cooperative

Book Review

From My Cold, Dead Hands: Charlton Heston and American Politics. By Emilie Raymond. (Lexington: University Press of Kentucky, 2006. x, 376 pp. $27.95, ISBN 978-0-8131-2408-7.)
This is an interesting, though flawed, intellectual biography of a Hollywood figure whose political impact, though viewed by most as considerable, has largely gone unchronicled. Emilie Raymond's book is a beginning, but only that, toward filling this gap. Charlton Heston is another who began his political journey on the left, but became a conservative Republican. Raymond argues that Heston is actually a neoconservative, but a type little studied—a non-intellectual neoconservative, whose ideas grew from middle-class roots, heavily influenced by cultural impulses.	1
Heston's life saw several stages. First came his Hollywood career, in which, through starring roles in films such as The Ten Commandments (1956), he purposely developed an image emphasizing personal responsibility and a conservative masculinity. This fit well with his traditionalist temperament, but then the author argues that Heston always was at root conservative.	. . .

There are about 398 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.