Summer 2019: Progress Report

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.

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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.

Nancy Tystad Koupal

Bloody Benders

In 2011, when I was working on notes for the Library of America edition of Laura Ingalls Wilder’s Little House books, the one that was the most fun to write and research was about the Bloody Benders. These serial killers in Kansas played a starring role in the most important statement Wilder ever made about her work, the speech she gave at the Detroit book fair.  And no wonder:  the Benders had it all—murder, mystery, sex appeal.

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The illustration page from a feature on the Bender murders in Harper’s Weekly on June 7, 1873

When Pioneer Girl:  The Annotated Autobiography was published, I was thrilled to see that it included, among its other gorgeous accoutrements, a meaty little appendix about the Bloody Benders.  Then Nancy Tystad Koupal and Pioneer Girl Perspectives offered me the perfect excuse to indulge my morbid fascination with this killer family and to delve into the story of why the Benders became something of a touchstone for Wilder and her daughter, Rose Wilder Lane.  Why were they always bringing up the Bender account—what did it mean to them?  And what does their adding the episode to the Pioneer Girl narrative say about their understanding of the difference between fiction and nonfiction?

My essay aims to provide some answers to those questions, but to give you a teaser:  Lane’s early journalism goes back to a lurid period in the history of newspapers—what used to be called “yellow journalism,” named for the “Yellow Kid” comic strip immortalized during the circulation battles between William Randolph Hearst and Joseph Pulitzer.  Yellow journalists gave rise to both good and bad trends, to investigative journalism as well as tabloid fodder—they were the pioneers of “fake news.”

Lane cut her teeth in the “journalistic kindergarten” of yellow journalism in San Francisco, California.  Within weeks of being hired at the San Francisco Bulletin, she began churning out fake celebrity “autobiographies.” At the same moment, she was teaching her mother the tools of that strange trade.  It’s an astonishing chapter in their story. The saga of the Bloody Benders dramatizes the editorial struggle between them, a struggle over values represented by truth, on the one hand, and fiction on the other.  My essay features new information on the Bender-Ingalls connection and how Wilder and her daughter may have come across the salacious tale, as well as a long-lost letter of Lane’s, described for the first time.

Caroline Fraser, contributor to Pioneer Girl Perspectives

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Pioneer Girl Perspectives: Exploring Laura Ingalls Wilder edited by Nancy Tystad Koupal will be available to readers on 18 May 2017.