Cowboys and Indians by Katherine Webb

Yesterday, I finished reading Sebastian Barry's Days Without End, one of the books I was given for Christmas. It is simply breathtaking. The book recently won the Costa Novel of the Year award, and I hope it goes on to win the overall Book of the Year prize too. Every now and then, a historical novel comes along that picks you up and drops you down right in the past, like a perfect magic spell, so that reading it is like being there. Hilary Mantel did it with Wolf Hall; Andrew Miller did it with Pure, and Sebastian Barry does it with this book.

By chance, Barry's setting is one I've long been interested in: The American frontier in the nineteenth century - the 'Wild West', as myth would have it. And what a culture of myth and legend there is, surrounding that extraordinary period. The relentless pursuit of land and better fortune by early European settlers on that continent provides a truly astonishing chapter in the book of human history - but of course it came at immense cost to the indigenous population. I find it hard to read about the shoddy treatment of the American Indians by the settlers without my blood boiling at the injustice of it all. But more of that in a moment.

I heartily recommend Barry's new novel to you all, whether you're interested in the history of the USA or not. Whilst his magic trick of sending the reader back in time is one I wish I could emulate with my own fiction, the book is a treasure trove for readers, regardless. There are jewels of prose on every page. To prove it, I am going to open the book at random now, and quote a sentence or two:

'Third day a big thunder storm and it only a huge song singing of our distress. Hard to get the darkness out of your head. Full ten thousand acres of dark blue and black clouds and lightning flinging its sharp yellow paint across the woods and the violent shout and clamour of the thunder. Then a thick deluge to speak of coming death.'

Stunning. Our narrator is Tom McNulty, a young Irish man driven to emigrate by the famine in Ireland, and his narrative describes his life as soldier and settler in the Indian Wars and the American Civil War in the third quarter of the nineteenth century. Previously it had been easy for me, when reading about the actions of soldiers and officials in the Indian Wars, to condemn their brutality as a symptom of the racism and greed of a previous generation. Barry's book, however, says important things about what can happen, and what a man will do, if he is made worthless to society, if he has no stake, and no chance of betterment. It says important things about the human heart -  its capacity for love and tenderness as well as the damage done to it by violence and fear. It is an astonishing feat of fiction writing, and brilliant bit of myth-busting for anybody whose mental image of American history comes from Hollywood films.

As I mentioned, I have been interested in early American history for quite some time. I even had a stab at writing about it myself, in my first novel The Legacy, which featured a greenhorn New York girl getting married to a rancher and moving to Oklahoma Territory in the early years of the twentieth century - and all the many and lastingly devastating ways in which she does not cope in her new life. I acquired a number of very good books on the subject of the 'Wild West' as I did my research, and hear are four of the best, in my opinion:

Bury My Heart at Wounded Knee by Dee Brown. Written in 1970, this book perhaps marks the start of the revision of American history. The subtitle, An Indian History of the American West says it all. Brown has written here a damning, heart-breaking history of every bloody battle, every broken promise, every casual cruelty and ignored treaty of the Indian Wars. The terrible inevitability with which an entire race and culture was near eradicated is documented here - whether the Indians were beaten in battle by the sheer numbers of white settlers and soldiers, or were starved, or were herded by treaty to lands they did not know and could not thrive upon. This book exploded the myth of the plucky cowboy protecting his family against the marauding savages. A harrowing but important read. Dee also wrote Wondrous Times on the Frontier, a fascinating collection of anecdotes about life in the early West, told first-hand by the men who were there.

Sand in My Eyes by Seigniora Russell Laune. Something easier to read but just as interesting. This memoir, first published in 1956, tells of Laune's early life in the rural town of Woodward at the turn of the twentieth century. The back of the book praises its exuberant representation of 'the pioneering spirit that civilized the West'... But, of course, Laune is blameless in living her life at the time and in the place she was dealt, as we all generally must. Her memoir moves away from the very early days of settlement to the beginnings of the modern era in what was still very much a spit-and-sawdust town, and gives an engaging portrayal of the trials of domestic life for women back then. Tellingly, it makes almost no mention of the Indians at all, though Woodward was in Oklahoma Territory, which lagged behind the rest of the States, developmentally, because it had remained set aside 'Indian Territory' for several decades - until the pressure of white settlement grew too much.

The Virginian, by Owen Wister. The novel that spawned an entire genre, The Virginian was written in 1902, by which time the West was more or less tamed, no longer a frontier, and the myth of the heroic, gun-toting, ranch-building cowboy had been born. Here we have the strong, silent man, carving his own destiny out of the wilderness; the virtuous, brave woman he loves; the romance of the sweeping landscape, and what I believe to be the first ever depiction of a quick-draw gun duel in the main street of a Western town. Very interesting to see how stories begin to be told, and how they can then grow and spread.

The Real Wild West by Michael Wallis. Published in 1999. This book combines a fascinating history of the vast 101 Ranch in Oklahoma - which at its height covered 110,000 acres, operated its own trains and had its own oil refinery, schools, churches and postal service - with a history of the birth and perpetuation of the myth of the American frontier. The 101 Ranch created the first ever touring 'Wild West Show', which became world famous, and featured real life figures like Geronimo and Buffalo Bill in what must surely, to them, have felt like surreal theatrical representations of their own lives. The book is packed with detail and anecdote, is hugely informative on early settler and farming life, and can be read for sheer enjoyment as well for an insight into the way in which the bloody, difficult history of a nation can have its heartbreak and suffering sanitised, repackaged and sold to the masses.

Six and a Half Magic Hours - Joan Lennon

It's astonishing to think how short a time it's been since the beginning of commercial jet travel. This video extolling the wonder that is the Boeing 707, aka "the magnificent new jet", was made in 1958.  I love the purple prose - the sky is "the vast air ocean" - the plane has "a wing spread that's bigger than the entire distance of the Wright brothers' first flight" and now, we are told, "the travail has been taken out of travel".  We are shown "scenes of living room quiet and relaxation, the mood enhanced by lighting that can be changed from the pale pink of dawn through all the variations to the dark blue of night." I love the optimism of "Jet speeds will help to accomplish one of man's long-sought goals - an easy interchange of peoples throughout the world."  Would I also love having that kind of space and food and general pampering on my next jet flight?  Yes.  Oh my oh my, yes.

Have a watch.  It's historical - and another world ...

Joan Lennon's website.
Joan Lennon's blog.
Silver Skin.

A Very Short History Of How I Became A History Girl -- Sheena Wilkinson

I’m thrilled to be a History Girl, after being for several years a History Girl in waiting.

Actually I have been a HG in waiting all my life. I was a swot who loved school, and from the start what I loved most, apart from English (I was a writer in waiting too) was finding out about the past. Like most children at primary school in the seventies, I did a project on the Vikings, which happened to be an interest of my history-loving father too. I don’t suppose my P4 teacher relished being told by me that there was now evidence that the Vikings may have voyaged as far as America, as that wasn’t in her textbook.

The best things weren’t. When I got to secondary school, encouraged by a wonderful teacher (to whom I have paid tribute in another blog post https://authorallsorts.wordpress.com/2015/08/19/a-letter-to-my-o-level-history-teacher-by-sheena-wilkinson/) I continued to love history, but not just in the classroom. That school, Victoria College, a Belfast girls’ grammar founded in 1859, had its own history that enticed me much more than the too-long-ago Vikings.

one of my bookcases -- true stories 

Many break-times found me in a certain little hideaway under the stairs, looking at an exhibition about the school’s evacuation to the north coast during the Second World War. There were photos and letters and old essays on display and for the first time I discovered the joy of the everyday artefact, and the power of old photos to evoke a vanished, but not terribly distant world. I never saw another pupil even glance at the exhibition – I think I’d have been very indignant; it had become my private place.

What made it all the more inspiring was that by then I’d also begun on another long-lasting love – that of old school stories, and the world conjured up by those serious bobbed, gym-frocked girls in black-and-white was closer to the world of Malory Towers and the Chalet School than anything else in my Belfast upbringing. Just belonging to a school that had such photos on the walls was a thrill to me. 

I had the best history teacher in the world, and romped through the Anglo-Saxons, the Tudors and the Plantation of Ulster. I have especially fond memories of the bubonic plague; then as now I adored anything gruesome about disease and pestilence. (As long as it was safely in a book and preferably now extinct.) I was told off for describing (and drawing) my plague victims with too much verisimilitude – but I like to think that a historical novelist was born in that first form exercise book. 

But it was modern history, which we studied for O Level, which captivated me most. This was history I could almost touch, history my granny could remember: suffragettes and the Great War and the partition of Ireland, and then another war.  This was a world I knew from those old school stories, and from the war poets I’d fallen in love with in English Lit. This was a world that seeped through the Victorian and Edwardian streets of my home city, and those black and white photos in the school corridors. A world evoked by the neatly-wound balls of nylon string, made from old clothes, in my waste-not-want-not granny’s Utility sideboard, and by the snaps of her and her friends on Sunday School outings in the twenties, looking exactly like Angela Brazil heroines.

Aunt Annie, Aunt Sadie (who died at 16) and Gran, in about 1917

When I started to write historical fiction – short stories at first and then, last year, a novel set in Belfast 1916 – it was this period to which I kept returning. As I write my second historical novel, due next year and set in November 1918, I’m looking forward to sharing some of those enthusiasms here with the History Girls.

And I promise not to make my plague victims too gruesome.