two north dakota writers - 1982
TRANSCRIPT
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North Dakota Quarterly
Volume 50, Number 1
Robert W. Lewis
Jeff Jentz
Sherman Paul
Howard Good
Thomas Matchie
James L. Clayton
Kathryne S. McDorman
John D. Early
Charles Carter
Philip 1. Mitterling
John Carver Edwards
William T. Doherty, Jr.
A. William Johnson
Winter 1982
Contents
5 Introduction
8 A Promise
9 Open(ing) Criticism
18 False Spring
19 Two North Dakota Writers
28 Those Who Gain and Those Who Lose:
Some Budgetary and Economic Conseq-
uences of President Reagan's FY 1983
Defense Budget
37 Tarnished Brass: The Imperial Heroesof John Galsworthy and H. G. Wells
46 The Market on the North Side of Town
54 Notes on Some Cuneiform Texts from
Bogazkoy
62 Buffalo Bill and Carry Nation:
Symbols of an Age
72 Bob Best Considered: An Expatriate's
Long Road to Treason
91 The Interaction of American Business
and American Religion in the 19th andEarly 20th Centuries: A Sampling of
Scholarly and Popular Interpretations
98 'Theses and Dissertations Accepted by the
Graduate School, University of North
Dakota - 1981
106 Editor's Notes
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Two North Dakota \'Vriter§
THOMAS MATCHIENorth Dakota State University
In the spring of 1981 two North Dakota native writers received
honorary degrees from North Dakota universities. The University of
North Dakota in Grand Forks honored poet Tom McGrath, and North
Dakota State University in Fargo decorated novelist Louis L'Amour.
Such schools ought to recognize distinguished intellectuals, but the
difference in quality between the two authors makes one wonder
whether higher education in North Dakota is in fact helping the public
to recognize where literary excellence lies and where it does not.
The function of the university, says John Henry Newman, is toraise the intellectual tone of society. It aims at
... cultivating the public mind, at purifying the national taste, at supplying
true principles topopular enthusiasm and fixed aims topopular aspiration,
at giving enlargement and sobriety to ideas of the age... 1
There is no doubt that the public likes Louis L'Amour, for there are
millions of his westerns in print around the world. McGrath, on the
other hand, has only a limited audience-perhaps because he writes
poetry rather than novels, perhaps he is too difficult for the average
reader, or perhaps his socialist philosophy doesn't wash in America."
But this is taste, and whatever the public reads, universities ought to
purify that by calling attention to artistic-intellectual quality.
Contrasting a McGrath work with a L'Amour work as a way of
isolating such quality may be difficult, since the two write in different
genres. But the matter becomes simpler when we realize that both
wrote specifically about North Dakota-its people, history, culture.
Using this state as a focus, I want to place a recent novel ofL' Amour's,
Lonely on the Mountain,3 beside McGrath's long poem, Letter to anImaginary Friend,' and see how they match.
For purposes of contrasting L'Amour and McGrath, I want to
select several kinds of phenomena that appear in both authors' works.
One is violence, particularly fist fights. Another is the use of female
characters, something integral to both, but which, like the acts of
violence, they manage quite differently. The third is Indians, and I
will evaluate their different perspectives on these. That L'Amour's
novel is set in the late 19th Century and McGrath's poem in the first
half of the 20th I do not think detracts from the relevance of these
parallels.
Louis L'Amour's short novel is about three brothers-Tell, Tyrel
and Orrin Sackett- who rendezvous in Dakota Territory sometime in
the 1880's to buy a herd of beef cattle and dri ve it through what is now
North Dakota and Saskatchewan to western Canada. The plot is
simple, but the author provides continual suspense by ending nearly
every chapter with a new "mystery" to be solved or a circumstance to
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be resolved. We have to discover, for instance, whether the three
brothers will meet at all, how and why the cattle are stampeded, andcousin Logan's reason for wanting the meat delivered in the first
place.
L'Amour claims to be a historical realist," but this has to be
qualified. What he does is weave into history such details as the use of
Red River carts used by the metis to haul buffalo hides, Indian lore
surrounding the naming of Devils Lake, and meetings at such
historical spots as Fort Garry and Fort Carlton. But these are
incidental and subordinate to the movement of the Sacketts westward
through the land inhabited by the restless and warlike Sioux.
The violence inL'Amour's novelette takes on various forms, which
are "the stuff' of Western movies and help constitute a code or
stereotype from which he never departed. 6 Tyrel, for instance, shoots a
buffalo while mounted on his dun horse, and Tell is the first to fire his
pistol at a grizzly that "arose from the brush and stood tall in the trail"
(p. 167).But it is Orrin who fights the monstrous Ox-a cowhand hiredfor the trip-in a prolonged and tedious struggle.
Ox is a foil for the Sacketts, for he is a born bully and lacks their
sense of purpose, discipline, and prowess. The Sacketts are suspicious
of Ox from the beginning, and finally he and Orrin lock horns.
The Ox, suddenly confident, was coming in now, ready to destroy him.
Orrin feinted a left, and the Ox, sure of himself, came on in. Orrin feinted a
left, and the Ox blocked it with almost negligent ease but failed to catch the
right that shot up, thumb and fingers spread.
It caught him right under' the Adam's apple, drew back swiftly, and
struck again just a little higher.
The Ox staggered back, gagging, then went to his knees, choking and
struggling for breath.
Orrin backed off a little, then said toGilcrist, "Take care of him." (p. 148)
So ends five pages of fighting. This is the Violent West which
Sonnichsen says is more real to us now than the reality." For some,such a fight might be boring, but this is what people read (and watch
on TV), for it fulfills the myth (Milton calls it a neurosis") of the hero
overpowering one more adversary. Ox, along with the Indians, the
Higginses (Logan's enemies the Sacketts expect to encounter), and the
prairie itself make up the obstacle course-the course of entertainment
in a L'Amour story-through which the Sacketts work out their
destiny.
In Letter to an Imaginary Friend Tom McGrath is also interested
in action, though in a vastly different way from his contemporary.
Written in the first person, the whole poem becomes the act, not just of
the poet, but of a spokesman or "representative," in the manner of a
Greek mask.? Part I, published in 1955, covers McGrath's boyhood in
rural North Dakota, as well as his education in North Dakota-Grand
Forks and Fargo-and in the South. Part II is then a virtual spreading
out of the poet's consciousness to include Los Angeles and New York,thus the whole country.
The long poem falls in the tradition of WaIt Whitman with his
emphasis on cadence rather than on set rhythms or regular line
lengths. Like "Song of Myself," McGrath's poem is meant to be
written over a lifetime, and expands into an epic journey through the
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story of one's time and place."? The "I" or persona becomes a sort of
.aman, a healer or medicine man who, through a series of
motional responses," transcends his culture in an effort to unify and
la1.11
For this poet, as in L'Amour's novelette, Dakota is the primary
ndscape. Itis not, however, merely a place topass through-though
.epoet leaves it to return in anew way; rather, itis the root and fabric
.his vision.
Never came back; never left...
And now returned in the long cortege of myselvea
Dakota, New York, Europe, Dakota again,
Los Angeles Frisco Dakota New York, Los Angeles
Turning and turning ... (pp. 41, 87)
North Dakota is everywhere," says the poet,12 and in this way the
oy's early life is not separate from his later commentary on America
3 a whole.
Included in this epic journey are many types of violent actions: the
-agic burning of planes on the ground during World War II, for
istance, in which men are scalded to death in their fiery iron cages.
uch moments are not unrelated to the sights and sounds of society at
arge, where the "thump thump thump" (p.154) of the falling body ofa
uicide-as well as the reporter who records it-beats out a rhythm all
)0 common in a world supposedly so free and brave as ours.
These episodes are different from-but related to-those of the Old
if est, for they give insight into our culture, past and present. McGrath
.lsoemploys fist fights, like the one between Orrin and Ox, and a look
'.tthis particular kind of violence illustrates how for this poet real acts
n the past-what Smeall says are deliberate references to "near
hings"13_pass beyond mythic stereotypes and become part of one's
rrowth. On the farm the boy remembers such a fight on the threshing
'ig,where his older friend Cal is beaten for proposing a strike.
My uncle punched him. Iheard the breaking crunch
Of his teeth going and the blood leaped out of his mouth
Over his neck and shirt-I heard their gruntings and arrainings
Like Joveat night or men working hard together
And heard the meaty thumpings, like beating a grain sack
He fell in the blackened stubbleRose
Was smashed in the face
Stumbled up
Fell
Rose
Lay on his side in the harsh long slanting sun
And the blood ran out of his mouth and onto his shoulder
Then I heard the quiet and that I was crying-
They had shut down the engine. (pp. 18·19)
What makes this fight different is that it is perceived by a wide-eyed
boy, and through the graphic images and broken rhythms we withhim are taken up into its "gruntings and straining's." One thinks of
Whitman's "Out of the Cradle Endlessly Rocking," where a young
boy-becoming-man first encounters death and the pain ofloss, only in
Letter the boy's new awareness and suffering are related to the
perennial conflict between labor and management.
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It is significant that in McGrath's poem the fight takes place, not
just in rural North Dakota, but close to the earth where men strivehard together threshing the grain. Itis that community disruption by
Cal and his uncle which so affects the boy. Stern sees it as the seed of
McGrath's own radicalism, and says it is in these interactions of the
personal and political that he is poetically most persuasive.» More
than just historical realism, as with L'Amour, this action is rooted in
the meaning of work, of comradeship, of man's struggle for freedom
and identity.
Another way to highlight the gulf between these two writers is
through the way they characterize women. Lonely on the Mountain is
basically about men. The Sackett brothers are tough, confident if not
arrogant, and clannish. The book is about their success on the range
and in the mountains. They are the best shots, take great pleasure in
outsmarting their opponents, and always accomplish what they set
out to do. Again, this is the pattern which L'Amour uses over and over
at the expense of originality; Gurian calls it "cheap myth," a kind ofabsurd self-glorification that makes serious teaching about the West
nearly impossible."
But there are also females in L'Amour's story, Nettie and Mary, on
their way out West. Nettie, the youngest and prettiest, is the most
important. She is trying to find her brother-who turns up on the
wrong side, having sold his soul for a chance to get rich on somebody
else's gold. On the stagecoach she goes to sleep on Orrin's shoulder,
only to wake with a start:
"Oh! Oh, I am sosorry!" She spoke softly soas not to disturb the others.
"I had no idea!"
"Please donot worry about it, ma'am," Orrin said. "My shoulder's never
been put to better purpose."
She tucked away a wisp of hair. Her eyes were brown, and her hair,
which was thick and lovely, was a kind of reddish-brown. He suddenly
decided that was the best shade for hair, quite the most attractive he'd seen.(p.46)
Here is an example of what Hutchinson calls in westerns like
L'Amour's a "sawdust doll," a type of "idealized English maiden"
whose hair is disproportionately important.w However unreal, such
women are common stock in this kind of novel, and we usually see
them through the eyes of men-in this case, the Sacketts-who are, of
course, most courteous and gentle and kind.
Ingeneral, L'Amour's females are innocent, sexless.>? ignorant of
the real West (Nettie thinks Fort Carlton is a town), and serve mostly
as foils for the vulgar and violent world they enter. Though weare told
that both ride herd-Mary, the stout one, was "born a hand" -they are
for the most part adjuncts to the story and have no real identity of
their own.
Because Letter to an Imaginary Friend is autobiographical, aseries of "voices out of the ground, voices of the place,"18 McGrath is
more personal and philosophical about women than is L'Amour in
this single short novel. Dedicated to his wife Eugenia, Letter includes
a host of attitudes toward females. More than a side treat, they belong
to every stage of life:
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First was Inez, her face a looney fiction,
Her bottom like concrete and her wrestling arms;
Fay with breasts as hard as hand grenades(Whose father's shot gm: dozed behind the door),
Barefooted Rose, found tn the bottom lands
(We layed the flax as flat as forty horses
The blue bells showering) ...
My little learning (Gladys and Daisy) bearing
The golden apple of my discontent. (p. 27 )
w far removed these direct details are from the idealized maidens of
Unour, and instead of vague impressions and chivalry, we feel we
lpart of the persona's growing up-a "corpse-bearing tree" as much
"my resurrection bone."
'Most significant to the poet's growth is Jenny, whom he sees as a
[de, a Sacagawea, a mystery, a holy woman to whose true innocence
d laughter he turns from the violent world of men in order to find
nself-a gesture foreign to the Sacketts. And yet even with her it isficult to combine sexuality and spirituality, as we see in this mock
my:
Remembering Jenny ...
My ding-dong darling and haymow madonna ...
Sexual vessel
Lay for us
Bridge of thighscarry us over
Encyclopedic pudenda hairy prairie, automated vagina
Be tuith. us in the day of our hunger (p. 176)
.is modulation from tight descriptive verse to open versification
Iects the poet's OvVTI moods and attitudes toward women with whom
grapples in so many ways. The poem in fact becomes a male-female
conscious-unconscious dialect, where the poet is both aggressor andieptor, "maker" and open to powerful forces from without and
thin.19
For McGrath, love is as much a part of life as hunger, a theme he
rsues in other poems, like his "Letter toMarian,"20 a woman he also
mtions in Letter to an Imaginary Friend:
In the mirror of flesh we confront our own past
(Which is always wrong) our weakness
(therefore: terror, despair)
Our own corruptibility
our human potential for being
Lost.
And that woman is all the mortal hungers
Of our own lost years;
our defeats;
our secret country;
Childhood
future
hope
class
revolution
Our fate. (pp. 179-80)
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Truly, this poet sees in women a source of humanization that involves
destruction as it does fullness of being. They are as significant as
man's need for food and as relevant as the land itself. Indeed, they are
part of the earth, not strangers in a strange land as in the novels of
L'Amour.
A third point of intersection for these writers is their interest in the
Indian. L'Amour's novel is about a trip through Dakota in the 1880's
when Louis Riel is trying to save the metis (French-Indians) from the
designs of the Canadian government, and when the whole Midwest is
... the land of the Sioux, a fierce, conquering people who had moved
westward from their homeland along the Wisconsin-lVlinnesota border to
conquer all North and South Dakota, much of Montana, Wyoming,
Nebraska, an area larger than the empire of Charlemagne. (p. 45)
The author's use of the metis is interesting; Riel helps the Sacketts
move westward, and this adds a certain authenticity to the plot.
However, by 1880, Crazy Horse is dead, Sitting Bull has surrendered,
and bonanza farms line the Northern Pacific Railroad that has now
passed through Dakota;" thus malting the "land of the Sioux" less
awesome than L'Amour would have us believe. But the Sioux at one
time did dominate the whole territory, and it is in this general sense
that L'Amour employs them-to generate a great fear throughout the
land.
There is no serious attempt in L'Amour to represent the mind or
culture ofthe Indians, as does Mari Sandoz, for instance, in her novel
Cheyenne Autumri.l? Bailey says L'Amour made one attempt at
literature in an early novel but "Literature lost," and he ended up
writing in "nothing but cliches about the old West."23In Lonely on the
Mountain the Indians exist to help define the Sacketts, Tell and Tyrel,
for example, cleverly buy the herd of beef from "friendlies" anxious to
avoid the rapacious Sioux. Tell actually prevents a confrontation with
the Santee Sioux when one ofthem, High-Backed Bull, recognizes this
particular Sackett as the one who outwitted him years ago when
escaping captivity from his tribe.
The broadmindedness of the Sackett brothers also becomes appai..ent
when Tell rebukes Ox for saying "an Injun wasn't worth the powder it
took to kill him." For Te11the Indians are "like everybody else. There's
good an' bad amongst them" (p.25). Tell's leaving buffalo meat for the
Indians is repaid later when he is nursed to consciousness after the
stampede by the "herbs" of an Indian "squaw" (p. 122).The thrust of Lonely on the Mountain is the Sacketts' dangerous
cattledrive through Dakota shortly before it became a state. Indians
provide the suspense through the danger they pose. In this setting the
Sacketts are both brave and tolerant. They oppose violence in the
Sioux as they do in wild animals or white gunmen, and like Natty
Bumppo in Cooper's Leatherstocking Tales, they are kind to Indians
as they are to women. They represent what Chase calls "the idealAmerican image-a man who is a killer, but nevertheless has natural
piety."24
Tom McGrath approaches the Indian culture differently. Letter toan Imaginary Friend does more than recognize, like Tell, that there is
goodness in native Americans, or explain a historical circumstance,
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as does Orrin, when he gives reasons for the Indians' buying whiskey
from white traders. Having grown up near Fort Ransom, McGrathlooks at the Indian and the Indian past as something very close to all
of US.25
He alludes quite often to Crazy Horse26 and Sitting Bull who fought
to preserve the buffalo and the lifestyle of the Sioux-a style he finds
considerably more humanizing than the industrial society that
replaced it. For him, poetry in North Dakota began with the Indian, as
in Sitting Bull's Battle Song:
No chance for me to live, mother
You might as well mourn.
Such poetry he sees as not only the first to appear in Dakota, but verse
that is inherently sacred and still among the best in the region.s?
McGra th looks at Letter as akind of Indian ceremony. He speaks of
the dance, or "kisonvi," performed with the headband, the "kapani,"
as he imagines himself in a far country on a sacred butte. Other poemsof his own he sees as done through a male consciousness; here the
work is a ritual, a dualism between the "I" and the "She" (Fabulous
Dancer) out of which the poet's creativity or "Imagination" emerges.t"
The musical aspect of Letter is again reminiscent of Leaves of
Grass, where there is evidence of music varying from the opera to
wardrums. What McGrath does not share, though, is his predecessor's
faith in the progressive growth of American industry and democracy;
on the contrary, he laments the self-destructive character of
capitalism." Some of this is Marxist theory, but it is also connected to
the Indian, and the 19th century lust for gold-the very thing the
Sacketts insure by their trip west-and for land:
From Indians welearned a toughness and a strength; and we gained
A freedom: by taking theirs: but a real freedom: born
From the wild and open land our grandfathers heroically stole.
But we took a wound at Indian hands: a part of our soul scabbed oyer:
Welearned the pious and patriotic art of extermination
And no uneasy conscience where the man's skin was the wrong
Color;or his vowels shaped wrong; or his haircut; or his country possessed of
Oil; or holding the wrong place on the map-Whatever
The master race wants itwill find good reasons for having. (p. 190)
Though not the best poetry, this is "strong medicine" served with
strong language.
lVlcGrath is more effective when he is the shaman, for like
Whitman he is basically optimistic and a healer, or as Engel points
out, a "humanist rather than an ideologue.t'<? One sees this as the
poem builds toward the final ceremony or "kachina":
The difficult rising.I'll help you.
Slip your foot free of the stone
I'll take you as far as the river.
Sing now.
We'll make the kachina.
(p. 134)
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Without ignoring the wounds of history-"the past out here was
bloody," says the North Dakotan.w=-his poetry is still hopeful as hebeats out the music of unity with the earth and sky-in fact, the vision
of "the Fifth World of Hopi mytb."32 This is a posture quite different
from L'Amour's Sackett brothers, individual white males driving to be
the best, whose only community is a common superiority.
One cannot deny that Louis L'Amour is a storyteller. And there is a
certain excitement to reading about the Old West where men were
brave, women fish out of water, and Indians a curious primitive force
disappearing in the wake of Manifest Destiny. Western movies have
capitalized on this myth since their inception, even though western
writer-critics like Wallace Stegner say the frontier was always much
more myth than fact.33
One reads L'Amour as one reads most science fictiorr=-to'relax, to
fantasize, to get away from the world. But even the best science fiction
helps us to better understand our society and ourselves, for science
fiction became a literary form, says Scholes, when the connection wasforged between the future and the present. 34Westerns like Walter Van
Tilburg Clark's The Ox-Bow Incident have tried to make that moral
bridge between the present and our western past.35 In poetry, so has
McGrath; unlike L'Amour, he is no escapist.
Society does not need the university to read Louis L'Amour. Any
book salesman can tell you that. Itdoes need the university, however,
to say to America that this state has a poet of considerable talent and
insight, somebody who sees in North Dakota not just a desolate
prairie or even the breadbasket of the world, but a symbol of renewal
for our whole culture.
It is a culture that is rooted in the past-the gold rush, the land-
grabbing of the 19th century, Wounded Knee-and it can be a key to
our future. America's ills are not remedied through a better or worse
money market, but through a fundamental evaluation of our way of
life. Tom McGrath's vision is a light in that darkness-it is a radicalfaith ironically akin, not to Marx and Lenin, but to Paine and
Jefferson and Emerson and Thoreau36-and that is the prairie fire
that honorary degrees ought to help enkindle.
lJohn Henry Newman, The Idea of the University (Garden City: Doubleday, 1959),p. 191.
2Frederick C.Stern, " 'The Delegate for Poetry': McGrath as Communist Poet," inWhere the
West Begins, Arthur R. Huseboe and William Geyer, eds, (Sioux Falls: Center for Western
Studies Press, 1978), p. 126, Stern finds the roots of McGrath's communism in early
American history and shows how it is "a vehicle for his art, a framework within which he
can build and render the vision of his life."
3Louis L'Amour, Lonely on the Mountain (New York: Bantam, 1980). The title of this
book is misleading, for most of the action takes place on the prairie.
'Thomas McGrath, Letter to an Imaginary Friend, Parts I and II (Chicago: Swallow
Press, 1970), Part III is yet to be published.
'C. L, Sonnichsen, From Hopalong to Hud: Thoughts on Western Fiction (College
Station: Texas A & M University Press, 1978), p. 7.
6John R. Milton, The Novel of the American West (Lincoln: University of Nebraska
Press, 1980), p, 35.
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7Sonnichsen, p. 12.
3John R Milton, "The Novel in the American West," in Western Writing, Gerald S.
Haslam, ed. (Albuquerque: University of New Mexico Press, 1974), p. 77.9Mark Vinz, "Poetry and Place: An Interview with Thomas Mcflrath," Voyages to the
Inland Seas, 3, John Judson, ed. (La Crosse, Wisconsin: Center for Contemporary Poetry,
1973), p. 46.l"Thomas McGrath, "McGrath on McGrath," Epoch, 22 (1973), 208·9, 215. Like
Whitman, McGrath views his poem as forever incomplete, but he considers it a historical
dialectic-"the appropriation and internalization of the world through action, art, and
language is a social process."
ll"Walt 'Nbitman," in American Li terature: the Makers and the Making, Vol. I, CleanthBrooks, RW.B. Lewis and Robert Penn Warren, eds . (New York: St. Martin' s Press, 1973), p.
936.l2Bernard F. Engel, "Thomas McGrath's Dakota," Miduiestern Misceilanv, 4:3·7. Engel
explains that McGrath is firmly rooted in North Dakota, and sees in it s prai ries and coulees
the possibil ity of renewal for all America.
l3Joseph F. S. Smeall, "Thomas McGrath: A Review Essay," North Dakota Quarterly,40 (Winter 1972) , p. 30.
"Stern, p. 123.
15Jay Gurian, Western American Writing: Tradition and Promise (DeLand, Florida:
Everett/Edwards, 1975), p, 61.l6W. H. Hutchinson, "Virgins, Villains, and Varmints," in The Western, James K.
Folsom, ed. (Englewood Clif fs: Prentice Hall, 1979), p. 34 .
"Paul Bailey, "Louis L'Amour," Dakota Arts Quarterly 5/6 (1978), p. 55. Bailey
satirically comments: "the only beds mentioned [in L'Amour] are at the bottom of rivers,"
and "What rape there is is of the English language."
"Mark Vinz, p. 47.'9McGrath, "McGrath on McGrath," p. 211.
"McGrath, "A Letter to Marian," in To Walk a Crooked Mile (New York: Swallow Press
and William Morrow Co., 1947), pp. 66-7.
"Mary Dodge Woodward, (The Checkered Years, Mary Boynton Cowdrey, ed. (West
Fargo: Cass County Historical Society), pp. 3'~, 76-7. In her diary, wri tten from a bonanza
farm near Fargo in the 1880's, Mrs. Woodward speaks of Louis Riel coming to Fargo to buy
supplies and Sitting Bull passing through Fargo on his way to St. Paul to make cattle
contracts for his reservation.
"Pam Doher, "The Idioms and Figures of Cheyenne Autumn," in Where the West
Begins, Arthur R Huseboe and Will iam Geyer , eds . (Sioux Fall s: Center for Wes tern Studies
Press, 1978) ,pp. 143-51. Doher explains the naturalness of Sandoz' use of li terary devices to
portray the mind and heart of the Cheyenne people.
23Bailey, pp. 54-5.
"Richard Chase, The American 'Novel and Its Tradition (Garden City: Doubleday,
1957), p. 63.
25McGrath, "McGrath on McGrath," p. 217.
26McGrath edi ted and publ ished several editions of a poetry magazine enti tled Crazy
Horse.
"Thomas McGrath, "Conversation and Reading," Cassette tape, pt. l(Fargo, NO:
North Dakota State University Library).
"McGrath, "McGrath on McGrath," p. 212.
'"Charles Humboldt, "A Foreword," in The Gates of Ivory, The Gates of Horn, by
Thomas McGrath (New York: Mainstream Publishers, 1957), p. 10.30Engel, p. 3.
"McGrath, "McGrath on McGrath," p. 217.
"Engel, p. 4.
33Wallace Stegner, The Sound of Mountain Water (Garden City: Doubleday, 1969), pp.
19-20, 171}.7.
"Robert Scholes and Eric S. Rabkin,Science Fiction (London: Oxford University Press,
1977), pp. I}.7.
35Gurian, pp. 65-6."Engel, p. 4.
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