On September 23, 1970, a group of antiwar activists staged a robbery at a bank in Massachusetts, during which a police officer was killed. While the three men who participated in the robbery were soon apprehended, two women escaped and became fugitives on the FBI's Ten Most Wanted list, eventually landing in a lesbian collective in Lexington, Kentucky, during the summer of 1974. In pursuit, the FBI launched a massive dragnet. Five lesbian women and one gay man ended up in jail for refusing to cooperate with federal officials, whom they saw as invading their lives and community. Dubbed the Lexington Six, the group's resistance attracted national attention, inspiring a nationwide movement in other minority communities. Like the iconic Stonewall demonstrations, this gripping story of spirited defiance has special resonance in today's America.

Drawing on transcripts of the judicial hearings, contemporaneous newspaper accounts, hundreds of pages of FBI files released to the author under the Freedom of Information Act, and interviews with many of the participants, Josephine Donovan reconstructs this fascinating, untold story. The Lexington Six is a vital addition to LGBTQ, feminist, and radical American history.

It was a story so bizarre it defied belief: in April 1974, twenty-year-old newspaper heiress Patricia Hearst robbed a San Francisco bank in the company of members of the Symbionese Liberation Army—who had kidnapped her a mere nine weeks earlier. But the robbery—and the spectacular 1976 trial that ended with Hearst’s criminal conviction—seemed oddly appropriate to the troubled mood of the nation, an instant exemplar of a turbulent era.

 

With Patty’s Got a Gun, the first substantial reconsideration of Patty Hearst’s story in more than twenty-five years, William Graebner vividly re-creates the atmosphere of uncertainty and frustration of mid-1970s America. Drawing on copious media accounts of the robbery and trial—as well as cultural artifacts from glam rock to Invasion of the Body Snatchers—Graebner paints a compelling portrait of a nation confused and frightened by the upheavals of 1960s liberalism and beginning to tip over into what would become Reagan-era conservatism, with its invocations of individual responsibility and the heroic. Trapped in the middle of that shift, the affectless, zombielike, “brainwashed” Patty Hearst was a ready-made symbol of all that seemed to have gone wrong with the sixties—the inevitable result, some said, of rampant permissiveness, feckless elitism, the loss of moral clarity, and feminism run amok.

 

By offering a fresh look at Patty Hearst and her trial—for the first time free from the agendas of the day, yet set fully in their cultural context—Patty’s Got a Gun delivers a nuanced portrait of both an unforgettable moment and an entire era, one whose repercussions continue to be felt today.