As I sit down to bring readers up to date concerning our progress, I am reminded of Laura Ingalls Wilder’s first mitten-knitting experience. “Taking great pains, with much hard work for days, I finished one mitten,” she wrote in Pioneer Girl. “Then I wanted to stop, but Ma said, one must always finish what she began.”1 And so it is here at the Pioneer Girl Project as we strive to finish what we have begun. I am pleased to report that after many years of hard work Pioneer Girl: The Revised Texts is now at the printer. The South Dakota Historical Society Press will release it this coming October. Since my retirement as the director of the Press, I have been able to concentrate on this book, which we began in 2013, and bring it to a close. Unlike Wilder, however, I have enjoyed knitting this mitten, as it were, and am already happily clacking the needles as the Pioneer Girl Project’s next volume, Pioneer Girl: The Path into Fiction, takes shape. This fourth book concentrates on the next phase of Wilder’s career, the writing of her first novel, Little House in the Big Woods (1932). It is scheduled for release in late 2022, ninety years after publication of Big Woods.
Once again, we asked watercolorist Judy Thompson to create an original work of art for the cover of Pioneer Girl: The Revised Texts. Her work, titled “Dakota Twilight,” captures the beauty and soft colors of the prairie at twilight as Grace, Mary, Carrie, and Laura Ingalls return from a walk along the Big Slough. Ordering information for the new book will be available in the next few weeks.
Nancy Tystad Koupal
Wilder, Pioneer Girl: The Revised Texts, ed. Nancy Tystad Koupal, et al. (Pierre: South Dakota Historical Society Press, forthcoming 2021), p. 38.
Last year about this time, we reported that the Pioneer Girl Project team was hard at work on Pioneer Girl: The Revised Texts. And we have made progress, laying out the various sections of the manuscript as we complete work on them. Much remains to be done, however, and effective the first of July 2020, I will begin to focus closely on completing that book and the one that will follow: Pioneer Girl: The Path into Fiction.
I am leaving my position as director and editor-in-chief of the South Dakota Historical Society Press and as director of the State Historical Society’s Research and Publishing office. I will continue as director and editor-in-chief of the Pioneer Girl Project. As you might suspect, wearing all those hats has kept me rather too busy to focus on the Pioneer Girl Project. That is about to change, and I am looking forward to the transition.
Illustration for By the Shores of Silver Lake, drawn by Helen Sewell and Mildred Boyle, 1939
I realized how germaphobic I had become when I found myself wincing as I reread the opening chapters of By the Shores of Silver Lake. In chapter 3, Ma and the Ingalls girls board a passenger train for the trip from Walnut Grove to Tracy, Minnesota. Looking around at the railroad car and its inhabitants, Laura notices that a drinking fountain of sorts is available at one end. She watches a tall man with a bobbing Adam’s apple drink deeply from a cup and decides to check it out. A “fascinating” spigot and drain with a shelf for the cup lead her to drink her fill from the selfsame vessel before refilling it “part way, in order not to spill it” (p. 24), and carrying it back for Carrie and Grace to drink. Gasp. Think of the droplets they are sharing. But it gets worse.
Once the family arrives at the end of the line, they go to the hotel for dinner. They wash up at a communal wash basin, where a pitcher held “only a little fresh water for each of them.” A twenty-second handwashing routine is clearly not in play here. After a soapless rinse, they wipe off on a roller towel, the ends of which were “sewed together and it ran around on its roller so that everyone could find a dry place.” Freshened up, Ma and the girls head into the dining room, where “some how Ma found empty chairs,” and they joined the many men “sitting in a row at the long table” (p. 33). No social distancing whatsoever!
By chapter 5, the family’s ever-present danger of exposure to disease on top of the current stream of current Covid-19 news has exhausted me, and I put the book down to read another day.
At this point, the Pioneer Girl Project team is hard at work on its third book—Pioneer Girl: The Revised Texts, which concentrates on Rose Wilder Lane’s editing of Laura Ingalls Wilder’s autobiography. This book will present the texts of the three surviving typescript versions of Wilder’s autobiography side by side, with a fourth column for annotations. The design is tricky, and our long-suffering designer spent weeks laying out the Kansas section of the book in various ways so that we could determine how to insert annotation numbers and how much room there would be for both notes and photographs. These determinations had to be made before we could go any further in preparing the manuscript. When the new book is complete, the reader will be able to use it with Pioneer Girl: The Annotated Autobiography on one side and the relevant Little House book on the other, making a total of five columns of textual material for readers to compare.
And what can the reader expect to see? By comparing the original Pioneer Girl text with the Brandt typescript, for example, one can discern some of Lane’s working patterns as editor. In fact, it is possible to determine just when she began to toy with the idea of creating a children’s book written in third person. That point occurs on page 10 of the Brandt text, where she takes a pencil and changes Wilder’s “I” to “Laura” or “she,” and “we” to “they.” The annotations will alert readers to such editorial changes and what they mean.
The book will also have history components. Background essays about the areas in which the Ingalls family settled—Kansas, Wisconsin, Minnesota, Iowa, and Dakota Territory—will provide brief overviews of elements that formed the backdrop of Wilder’s world but are not explicitly mentioned in her texts. In Wisconsin, for instance, we talk about the rapacious lumber industry, the destructiveness of fires, the unhappy results of treaties with American Indian tribes, and other things that did not really intrude on the consciousness of a five-year-old girl.
A man stands outside the Fort Bennett post office. South Dakota State Historical Society
In the annotations, where possible, we will also add more background. First, we plan to explore puzzles that we did not sort out in Pioneer Girl: The Annotated Autobiography, and second, we will look at details introduced within the three revised texts themselves. For example, the Kansas section of the Bye text includes the speculation that no one had missed the people the Benders killed because “all that country was so far beyond the reach of postal service that no one was troubled when no word came back from men who went into it.” The plain fact is, the mail accompanied settlers everywhere on the frontier. Independence, Kansas, already had a post office when the Benders settled in that region in 1870 or 1871. Labette County, where the serial killers lived, had at least one postal branch by 1868 and another by 1869. In that era, post offices were often housed in a postmaster’s home.
As we continue our work on the revised texts, we will begin to share our research finds and update our progress via this blog. In so doing, we hope to give insight into our work while offering sneak peeks at the new book. Thank you for reading.
Around the world, Laura Ingalls Wilder remains a popular and influential writer—even in places wildly different from the Ingalls family’s expansive frontier. That fact was made clear again this week when Nanase Tominaga, editor at Taishukan Publishing Company, contacted the Pioneer Girl Project with good news. Taishukan is the Tokyo publisher of the Japanese edition of Pioneer Girl: The Annotated Autobiography.
Tominaga informed us that their edition is going into a second printing after just six months. Yumiko Taniguchi, the book’s translator, also shared a newspaper article that prominently features the work she did on the project.
We are thrilled to hear that Japanese readers are enjoying Wilder’s original manuscript as much as those in the United States.
The sun is rising over the prairie grasses and I’m on the road again. Instead of an old wagon and horses, I’m relying on the horsepower of a Uhaul truck and a rusted-out ’99 Pontiac Grand Am to take me east. This fall I accepted a post-doctorate fellowship position teaching Native American and Indigenous studies and the history of the American West at the University of Minnesota, Morris. I’ll be trading the grasslands of the Great Plains for the woodlands at the edge of the prairie. Don’t worry—I will still be researching and blogging for the Prairie Girl Project. Perhaps it is serendipity that as my research on Pioneer Girl: The Revised Texts turns towards the North Star state I will now make my home there.
Moving is never easy. Ferrying boxes back and forth from an apartment to the truck is not walking from Wisconsin to Kansas, but it shares some unpleasant characteristics with that task. Harder still are the goodbyes to good friends. Though technology helps to shorten the distance, nothing replaces the good-morning smiles that working with the folks of the South Dakota Historical Society Press provided. Thank you Nancy, Jeanne, and Jenny for making my time in South Dakota so wonderful.
Garth Williams illustrated the 1953 edition of Little House on the Prairie. On page twenty-eight, he depicts Caroline Ingalls using a cast-iron “spider skillet.”
As my last day in Pierre approached, I found myself smiling at the comparison of a covered wagon to my soon-to-be overstuffed Uhaul. My smile quickly vanished as we piled a second couch into the truck. A box with kitchen goods contained an old cast-iron skillet bought from an antique dealer near Watertown, South Dakota. The first such skillets came into widespread use in the late 1800s, and the Ingalls family found them useful when traveling or on the homestead. And while Laura Ingalls Wilder may have appreciated my ever-growing home library, Charles Ingalls may have asked whether I could condense the collection a bit to ease the weight in the wagon.
My family came to help me pack and begin a new chapter in Minnesota. With the last box safely stored in back, my dad and I climbed into our rig. I guided the truck down a hill and out across the grasslands. As I transition from the edge of the West to the northern outpost of the Midwest, stay tuned in coming weeks for essays on the Dakota War of 1862, maple sugaring, and plagues of locusts.
Beading takes an artistic eye, an engineering mind, nimble fingers, and steady patience. I understood these facts in the abstract, but it was not until my wife, Leah, began beading that I grasped more fully the artistry of the work. Beadwork is on my mind because I am annotating Wilder’s memory of traveling to an Osage camp with her sister Mary and her father Charles Ingalls. Scattered on the ground were beads that Wilder and Mary collected. Wilder recalled in the Bye revision of Pioneer Girl that they “found a great many pretty ones. . . . white beads and blue beads and yellow beads and very many red ones” (p. 5). From these discarded beads, the girls made a small necklace for the family’s new baby. But from where did these beads come?
This “bead box” features red trade beads (first column, rows 13–19) like the ones that the Ingalls girls may have found. Photograph by Jennifer Tiger, courtesy of Osage Nation Museum
Before the common use of European-manufactured beads, American Indians used a variety of materials and techniques to create beads. Wampum beads were made of special shells and used to make pictograph belts that recorded important events like treaties. To make wampum beads, a person trimmed the edges of a shell until only the columella, or central column, remained, which was then cut into sections for the desired bead length. The colors of the beads and the designs created often held (and continue to hold) significant spiritual values. Many Great Lakes tribes incorporate intricate floral patterns filled with blues and purples, while Osage beadworkers, along with many Plains tribes, often include symmetrical and geometric patterns.1
Osage beadwork from the late nineteenth to early twentieth century often used geometric patterns for adornment. Photograph by Jennifer Tiger, courtesy of Osage Nation Museum
The beads the Ingalls girls found in the Osage camp were likely trade beads dropped during the beading process. Trade beads made their way through North American Indian trade networks starting in the sixteenth century. These were often Venetian glass beads made of molten glass wound around a wire. When the wire was removed, it left a hole just large enough for threading. The bead maker then cut the long glass tube to create different sizes of beads. They were often called “seed beads” because of their resemblance to tiny seeds. Later, the “drawn” technique increased the speed of this process. In this technique, a beadmaker pulled a rod through the molten glass, which created the threading hole.2 Following the decline of the Venetian glass monopoly in the eighteenth century, other nations developed glasswork exports, particularly the Czech Republic. Czech beads are shaped like donuts, wider than they are tall. In recent years, Japanese seed beads have expanded in popularity to take a share of the beading market. Japanese beads are often taller than they are wide, leading to more uniform results in some applications. Today, many beaders use beads of differing origin depending on the needs of the particular project they are creating.
I’d like to thank Hallie Winter and the Osage Nation Museum for generously providing answers to my questions and images of nineteenth- and early twentieth-century beads and beadwork. The images included in this post are a wonderful example of the variety and colors of beads the Osage used in the late nineteenth century. Thanks also to Leah, whose knowledge of beading sparked my own interest.
1. Lois Sherr Dubin, North American Indian Jewelry and Adornment: From Prehistory to the Present (New York: Harry N. Abrams, 1999), pp. 170–71; Garrick Alan Bailey, Daniel C. Swan, John W. Nunley, and E. Sean Standing Bear, Art of the Osage (Seattle, Wash: Saint Louis Art Museum University of Washington Press, 2004), p. 9.
2. Dubin, North American Indian Jewelry, pp. 172–73, 589–90.
As I wrote in my last post, Wilder’s description of a forest fire near the Ingallses’ Wisconsin homestead captured my imagination. She wrote in the Bye revision of Pioneer Girl of “the trees. . . burning like great candles” (p. 14). This description compelled me to look deeper into the history of Wisconsin forest fires. Growing up in the state, I had heard of the Great Peshtigo Fire of 1871, but I hadn’t realized it occurred in the same year the Ingallses returned to Wisconsin from Kansas. The Peshtigo fire occurred two hundred fifty miles to the east of the Ingalls home, but news of the fire would have reached Pepin quickly.
Some readers may not be familiar with the Peshtigo fire, but most have likely heard of the Great Chicago Fire. Both fires occurred Sunday night, October 8, 1871. The Chicago fire burned dozens of buildings and killed five hundred citizens. Peshtigo’s lesser-known fire claimed the lives of twelve hundred of the region’s residents and leveled the town. Father Peter Pernin recounted a starker depiction of fire than the young Wilder did. “I perceived about the dense cloud of smoke overhanging the earth, a vivid red reflection of immense extent,” he wrote. “Then suddenly struck on my ear, strangely audible in the preternatural silence reigning around, a distant roaring, yet muffled sound, announcing that the elements were in commotion somewhere.”1 The priest escaped to the river, where he spent several hours dunking his body in the water. By Monday morning, the fire had burned itself out, but the town of Peshtigo lay in ruins.
Illustration of Peshtigo residents being driven into the river for safety. Wisconsin Historical Society
The survivors of the Peshtigo fire pulled themselves out of the river and began the slow process of rebuilding their lives with the aid of residents of the nearby towns of Marinette and Green Bay. A mixture of elements had combined to cause the disaster. The dryness of the summer, debris left from logging, a few careless individuals who did not fully extinguish their cooking fires, and sparks from trains have all been listed as contributing factors. In any case, the Ingallses were fortunate that, unlike the fire that destroyed Peshtigo, the fire of Wilder’s memory headed away from the family’s homestead. Readers interested in learning more of Father Pernin’s detailed remembrance of the Peshtigo fire can access it online here.
“Trees, trees everywhere, nothing else but trees as far as you can travel from the bay, either towards the north or west.”—Father Peter Pernin 1
My research has taken me deeper into the woods of Wisconsin. The quotation above is from Father Pernin, a Catholic priest who was assigned to the parish of Peshtigo, Wisconsin, in 1871. His descriptions of the Wisconsin woods are similar to those in Wilder’s remembrances. Early in the Wisconsin section of Wilder’s Bye revision to Pioneer Girl, she wrote, “The Big Woods began where we were, and ran on and on to the north, with not another house in them” (p. 14). As beautiful as both Father Pernin’s and Wilder’s woods were, there were dangers.
Wood engraving of Father Peter Pernin, circa 1874. Wisconsin Historical Society
Near the beginning of Wilder’s Wisconsin section, she describes a forest fire close to the Ingalls home. As the family looked at the smoke in the distance, they heard a series of gunshots. Charles Ingalls quickly realized that someone was lost in the burning woods and fired his own gun to help them find their way out. Curious to learn more about the forest fires, I turned to the Wisconsin Historical Society’s wonderful digital archive. Through the site, I learned that the summer and fall of 1871 were particularly dry for the Big Woods, and fires were a continuous concern. In Father Pernin’s remembrances of the summer of 1871, reprinted in the Wisconsin Magazine of History, I was surprised to read a story similar to the one that Wilder recounted about the lost stranger. Father Pernin told of hunting one day in the woods near Peshtigo when he became lost. He, too, fired his gun as a plea for help and was able to exit the woods only after hearing voices shouting and directing him out.
Finding such coincidences and historical insights drives my research for the upcoming Pioneer Girl: The Revised Texts. The hunting trip was not the only gripping story from Father Pernin’s narrative. Next week, I will delve into Father Pernin’s remembrance of the Peshtigo Fire of 1871.
1. Rev. Peter Pernin, “The Great Peshtigo Fire: An Eyewitness Account,” Wisconsin Magazine of History 54, (Summer 1971): 247.
“Almost at once we drove through the breaks along the river; crossed the Sioux river and were out on the broad prairie that looked like a big meadow as far as we could see in every direction” (Wilder, Pioneer Girl, p. 153).
Photographs by Jacob Jurss
I do not have a covered wagon. My horse is made of aluminum, carbon fiber, and rubber. It is fueled by coffee, not hay, and rolls instead of gallops. When I’m not researching and writing, I cycle on the backroads west of our offices in Pierre, South Dakota. I clear my head and quietly enjoy the beauty that surrounds me. Peddling my bicycle, I climb up out of the Missouri River valley and turn out onto the wind-swept flats that seem to stretch out forever. Blue skies with the occasional white cloud float lazily overhead. The sun burns the paved road, but there is nearly always a stiff headwind to help cool me down.
Perhaps the most common comparison of the wind in the prairie grasses is the comparison to waves rolling on the ocean. Watching the wind play with the grasses, I consider it an apt description. The road I travel down is far smoother than earlier roads, and livestock fences are more prevalent, but there are still long stretches of uninterrupted grasslands that stretch for miles. I think about the region’s people—the Arikaras and Lakotas, French traders, Norwegian and other immigrants and settlers—watching the same grasslands racing the sky to the horizon. I am reminded that for many readers of Wilder’s collected works it is the descriptions of place, the idea of home, that causes them to read and read again. Wilder’s vivid depictions never fail to create detailed images in my mind, but sometimes it’s important to place oneself physically in a place. I smell the air; I listen to the breeze. I race along backroads and quietly enjoy the vastness of the South Dakota sky.