Synopses & Reviews
"When we were young,
all we thought about was going to war."
it was nearing midday on the shortest day of the year in 1866 when Indians attacked a detachment of soldiers sent out from Fort Phil Kearny in northern Wyoming to cut firewood for the post. The weather was mild and clear. A light powdering of recent snow lingered in the shadows of the hills. The Indians could not be seen from the fort itself, but a soldier stationed on a nearby hill signaled the opening of the attack. Through the gates of the fort emerged a relief party of eighty men, cavalry in the lead, infantry hurrying behind. They circled north around some low hills, passing out of sight of the fort. Ahead of the soldiers, retreating back up the slope of a ridge, were ten Sioux and Cheyenne warriors, all practicing the oldest ruse of warfare on the plains. Each man in his own way was hurrying without hurrying, like a quail skittering through the brush away from her nest, trailing a wing, showing herself to hungry fox or coyote. It was the custom of decoys to lure and tantalize-to taunt the soldiers with shouted insults, to show their buttocks, to dismount and check their horses' feet as if they were lame. The decoys would linger back, just at the edge of rifle shot, almost within reach.
This moment had a long history. Fort Phil Kearny was the first of three posts established in the early summer of 1866 to protect whites traveling north to the Montana goldfields along a new road named after the man who had mapped it out a year earlier, John Bozeman. For twenty- five years the Sioux Indians had traded peacefully with whites at Fort Laramie two hundred miles to the south and east, but the Bozeman Road threatened their last and best hunting country. The chiefs spoke plainly; the whites must give up the road or face war. In June, they had been invited to gather at Fort Laramie, where white officials hoped to patch together some kind of agreement for use of the road. A friendly chief of the Brulé Sioux warned an Army officer that talk was futile. "There is a treaty being made at Laramie with the Sioux that are in the country where you are going," Standing Elk told an officer heading north. "The fighting men in that country have not come to Laramie, and you will have to fight them. They will not give you the road unless you whip them."
All that summer Fort Phil Kearny was under virtual siege by the Indians. They prowled the country daily, watching or signaling from the ridges. They often attacked soldiers sent out to cut wood or hay and they killed numerous travelers-thirty-three by the end of August, according to the commander of the fort. At every chance the Indians ran off horses and cattle, threatening the fort with hunger. When the fall buffalo hunting was over, thousands of Sioux and Cheyenne converged on the isolated fort, but they hid themselves, taking care that the soldiers never saw more than a few at a time. During one midday raid on the fort's dwindling cattle herd in November, soldiers on horseback suddenly charged out of the fort in angry disorder, infuriated by the endless attacks. This set the Indians to thinking.
In early December the decoy trick almost succeeded in luring reckless soldiers into an ambush. On December 19, the Indians tried again, but the decoys were too clumsy, or the soldiers too cautious; they turned back when the Indians passed up over the ridge north of the fort. But two days later, encouraged by a promise of success from a "two-souled person" or winkte, the Indians organized a second effort on a still larger scale and this time everything was done right. The great mass of warriors hid themselves in the grass and brush on the far side of the long ridge as it sloped down and away from the fort. No overexcited young men dashed out ahead of the others. The horses were held back out of the way. The decoys were convincing. The eighty soldiers never slacked their rush up the ridge after the men they feared were getting away.
In that group of ten warriors retreating back up the ridge, but not too quickly, nor lingering too obviously, were some of the leading men of the Oglala Sioux-Man That Owns a Sword, American Horse, and Crazy Horse. All were respected warriors, men in their late twenties, known for courage in battle. Among that group Crazy Horse did not impress at a casual glance. He was a slender man of middle height. He dressed simply. He wore his hair loose with a few feathers or sometimes the dried skin of a sparrow hawk fixed in his hair. For battle he painted himself with white hail spots. A zigzag line of paint down his horse's shoulder and leg gave it the power of lightning. He had dusted his horse with the powdery earth from a prairie dog mound to protect it from bullets. His usual weapons were a stone war club and a gun. If he ever fired an arrow at a white man it was not recorded.
None of the whites would have recognized Crazy Horse on December 21, 1866. Only a few had met him or knew his name. But Crazy Horse and the others were about to lure eighty soldiers into an ambush where all would die in the second of the three humiliating defeats inflicted on the U.S. Army by the Sioux Indians and their Cheyenne allies. Ten years later Crazy Horse would do it again. But no trickery would be involved in that third and greatest of Indian victories. His friend He Dog, who was in both fights, said Crazy Horse won the battle of the Little Bighorn with a sudden rush in the right spot at the right moment, splitting the enemy force in two-the kind of masterstroke explained only by native genius, in answer to a prayer.
The Sioux Indians of the northern plains had a phrase for the leading men of the band-wicasa yatapika, "men that are talked about." From earliest times, whites had called the leader of any Indian community the "chief," and the word matched the reality: in any band, one man was generally respected, listened to, and followed more than any other. But among the Sioux no chief ruled as an autocrat for long; wise chiefs consulted others and were supported in turn by various camp officials, men with authority over decisions about war, hunting, the movements of the band, and the enforcement of decisions and tribal law. For each office the Sioux language provided a distinct term, but all might be called chiefs without doing violence to the meaning, and all were drawn from the wicasa yatapika. The talk about those men generally started with some notable deed, and the deed was most often performed in battle.
From an early age the man who would be remembered as Crazy Horse attracted attention, first for his skill as a hunter, then for his courage in war. Many stories are told about the early life of Crazy Horse but few are completely firm. His friend and religious mentor Horn Chips said he was born in the fall on a creek near a sacred hill known as Bear Butte in what is now South Dakota; his friend He Dog said that Crazy Horse and He Dog were born "in the same year and at the same season of the year"-probably 1838, but possibly 1840. The name Crazy Horse belonged to his father before him, an Oglala of the band led by Smoke; when the band split after a killing in 1841 the father remained in the north with Smoke's people. The mother of Crazy Horse was a Miniconjou named Rattle Blanket Woman who "took a rope and hung herself to a tree" when the boy was about four years old. The reason is unclear; she may have been grieving over the death of a brother of her husband. In 1844-45, the elder Crazy Horse led a war party against the Shoshone Indians to the west, probably seeking revenge for the killing of this brother, whose name may have been He Crow, who may have been a lover of Rattle Blanket Woman, and whose death may have led to her suicide. It is impossible after so many years to be certain about any of it. To a boy of four all of this would have been frightening and vague.
Some facts are a little firmer. The elder Crazy Horse took a second wife said to be a relative of the Brulé chief Spotted Tail, possibly even the chief's sister. All witnesses agree that the boy was called Curly Hair until he was about ten years old, and some say that for a few years afterward he was known as His Horse in Sight.
Of his earliest life we know only what his friend He Dog said: "We grew up together in the same band, played together, courted the girls together, and fought together." Childhood ended early among the Oglala and by the time Crazy Horse was fifteen or sixteen in the mid-1850s his life was increasingly absorbed by episodes of war and violence. The stories that survive follow a familiar pattern: despite great danger horses were stolen, an enemy was killed, or a friend was rescued. On one early raid against the Pawnee when he "was just a very young boy," according to Eagle Elk, Crazy Horse was shot through the arm while rushing an enemy to count coup-that is, to touch him with his hand or a weapon. "From that time he was talked about," said Eagle Elk. Many accounts of Crazy Horse's early fights and raids end with a similar remark-that he was first into the fray, that his name was known, that people talked about him.
"When we were young," said his friend and mentor Horn Chips, "all we thought about was going to war." It was fame they sought; to be talked about brought respect and position. "Crazy Horse wanted to get to the highest station."
When Crazy Horse was about eighteen he lived for a year with the Brulé Sioux, probably with relatives of his father's second wife. The Brulé were bloodily attacked about that time by the American Army, but Crazy Horse's friends in later life did not remark on that. It was his abrupt return to the Oglala which excited curiosity. His friend He Dog asked around to learn what had happened. "I was told he had to come back because he had killed a Winnebago woman," said He Dog.6 Where
the transgression lay is not clear; women were often killed in battle, and He Dog himself later killed a Crow woman, sometime around 1870, although telling about it made him uneasy, as if he were ashamed.
It was at about this time, in the later 1850s, that Crazy Horse acquired the name he was to carry for the rest of his life. His friend Horn Chips said the new name was given to him after his horse ran around wildly-crazily-during a fight with the Shoshones. He Dog offered two stories; one said Crazy Horse got the name when his horse ran down an enemy woman who was hoeing her corn. But it is He Dog's second story that offers the most detail and makes the most sense. About 1855 or 1856 the young man, then still known as His Horse in Sight, took part in a fight with Arapahos, returning with two scalps. For most of the middle decades of the nineteenth century the Arapahos were allies of the Sioux, and of the Oglala in particular, but on one occasion the Oglala chief known as Red Cloud led an attack on a group of Arapahos who were on their way to visit the Prairie Gros Ventres, traditional enemies of the Oglala. This may also have been the occasion when Crazy Horse rescued a leading man of the Miniconjou named Hump, whose horse had been shot. In any event, the young man's feat-two scalps taken from enemies forted up on a rocky hilltop-made the father proud.
It was a custom among the Sioux to celebrate a son's achievement with a feast and the giving away of presents. When a boy killed his first buffalo his father might ask the crier to call out the news throughout the camp, then feed those who came to hear about the feat and perhaps give a horse, or even several horses, to people in need. After the fight with the Arapahos, in which His Horse in Sight twice charged the enemy hiding among the rocks, the father gave the son his own name, Crazy Horse. For the next two decades the father was known by an old nickname, Worm, for which the Lakota word is Waglula.8
The meaning of Crazy Horse's name requires some explanation. In Lakota it is Tasunka Witko, and a literal translation would read "His Horse Is Crazy." Tasunka is the word the Lakota coined for horse sometime in the early 1700s, a combination of sunka (dog) and tatanka (big). The word witko is as rich with meaning as the English word "swoon." It might be variously translated as "head in a whirl," delirious, thinking in all directions at once, possessed by a vision, in a trance. In the sign language of the plains witko was indicated by rotating the hand in a circular motion, but the word's meaning was far from simply "crazy" in the sense of the vernacular English. The meaning of the name Tasunka Witko would be something like this: his horse is imbued with a sacred power drawn from formidable spiritual sources, and specifically from the thunder beings who roil the sky in storms. The operative word is power in the classic Lakota sense-imbued with force and significance. In short, the name of Crazy Horse implied that the bearer was a person of great promise and consequence, and soon his name and his feats were the talk of the plains. Honors followed.
In the late 1860s Crazy Horse and He Dog led a war party west of the Big Horn Mountains to raid the Crow or Shoshone Indians, traditional enemies of the Oglala. On their return to the village they were met by a large group who had come out to greet them, singing praise songs and inviting them back for a feast and the bestowal of an important gift. "The whole tribe," He Dog said, honored the two warriors with a gift of lances decorated with feathers and fur. These were not weapons but emblems of membership in the Kangi Yuha-the Crow Owners society, named after the dried crow skins attached near the base of the spears. "These spears were each three or four hundred years old," said He Dog, "and were given by the older generation to those in the younger generation who had best lived the life of a warrior."9
The lances brought honor and a stern duty. Members of the Kangi Yuha accepted a "no-flight" obligation: in battle they must plant the lance in the ground and stand fast until death or a friend released them.
Powers (The Man Who Kept the Secrets) details the rise and untimely fall of the Lakota's most famous warrior in this richly detailed sensitive and evenhanded portrayal. Little known before his stunning surprise victory over Custer's 7th Infantry at Little Bighorn Crazy Horse (ca. 1840–1877) became the strongest opponent of white incursion on Indian land in the Black Hills revered for his strategic brilliance and bravery. Opposed to any concessions that would remove his people from their land Crazy Horse terrified the American military as well as those Indian leaders who considered cooperating with the U.S. government's demands. Drawing on firsthand accounts by soldiers and officers settlers and Lakota the author assembles a savvy analysis of the conflicting interests and worldviews at play highlighting the cultural and political misunderstandings that led to the (most likely) accidental slaying of the Lakota leader as he surrendered to U.S. forces at Camp Robinson. Numerous conflicting versions of what happened in Crazy Horse's final minutes are handled with aplomb by the author as is the warrior's shifting legacy in the decades after his death. (Nov.) " Publishers Weekly Copyright PWxyz, LLC. All rights reserved."
"Powers (The Man Who Kept the Secrets) details the rise and untimely fall of the Lakota's most famous warrior in this richly detailed, sensitive, and evenhanded portrayal. Little known before his stunning surprise victory over Custer's 7th Infantry at Little Bighorn, Crazy Horse (ca. 1840 1877) became the strongest opponent of white incursion on Indian land in the Black Hills, revered for his strategic brilliance and bravery. Opposed to any concessions that would remove his people from their land, Crazy Horse terrified the American military as well as those Indian leaders who considered cooperating with the U.S. government's demands. Drawing on firsthand accounts by soldiers and officers, settlers and Lakota, the author assembles a savvy analysis of the conflicting interests and worldviews at play, highlighting the cultural and political misunderstandings that led to the (most likely) accidental slaying of the Lakota leader as he surrendered to U.S. forces at Camp Robinson. Numerous conflicting versions of what happened in Crazy Horse's final minutes are handled with aplomb by the author, as is the warrior's shifting legacy in the decades after his death. (Nov.)" Publishers Weekly (Copyright PWyxz LLC)
*and#160;A New York Times Notable Book *An Amazon Best Book * A Publishers Weeklyand#160;Best Book *and#160;A Christian Science Monitor Best Book
and#160; "In this hauntingly beautiful book, Egan brings Curtis to life as vividly and with as much depth, heart and understanding as Curtis himself put into his timeless portraits. This is a story for the ages."and#160; --Candice Millard, author of The River of Doubt
and Destiny of the Republic
and#160; "An obsessive genius neglects his personal life and business matters to pursue a great white whale.and#160;It's a familiar tale and the essential narrative of Egan's terrific biography. . . . Egan fills his chronicle with bright turns of phrase and radiant descriptions . . . A sweeping tale about two vanishing ways of life." -- Wall Street Journal
and#160; "A stirring and affectionate portrait of an underknown figure." -- The New York Times Book Review
and#160; "Short Nights
is not only the marvelous and rollicking account of life of one of America's extraordinary photographers. It is also a book about the extreme personal cost of outsized ambition. Egan has found yet another great subject, and has crafted yet another great narrative around it." -- S.C. Gwynne, author of Empire of the Summer Moon
and#160; "In this extraordinary biography, Tim Egan hasand#160;revealed a great American adventurer who lived at the fragile, fertile intersection of history, anthropology, and art." --Hampton Sides, author of Blood and Thunder
"A vivid exploration of one man's lifelong obsession with an idea . . .Egan's spirited biography might just bring [Curtis] the recognition that eluded him in life." -- Washington Post
"Egan is a muscular storyteller and his book is a rollicking page-turner with a colorfully drawn hero." -- San Francisco Chronicle
"A stunning portrait of Edward Curtis that captures every patina of his glory, brilliance, and pathos." -- Christian Science Monitor
and#160; "Egan brings liveliness and a wealth of detail to his biography of the legendary photographer . . .and#160;A riveting biography." - Boston Globe
"Insightful and entetaining . . . Egan's excellent book stands as a fitting tribute to an American original who fought for a people with his camera and his art." -- Los Angelesand#160;Times
"[A] captivating tribute to a treasured American and the treasures he created."-- Dallas Morning News
He was the greatest Indian warrior of the nineteenth century. His victory over General Custer at the battle of Little Bighorn in 1876 was the worst defeat inflicted on the frontier Army. And the death of Crazy Horse in federal custody has remained a controversy for more than a century.
The Killing of Crazy Horse pieces together the many sources of fear and misunderstanding that resulted in an official killing hard to distinguish from a crime. A rich cast of characters, whites and Indians alike, passes through this story, including Red Cloud, the chief who dominated Oglala history for fifty years but saw in Crazy Horse a dangerous rival; No Water and Woman Dress, both of whom hated Crazy Horse and schemed against him; the young interpreter Billy Garnett, son of a fifteen-year-old Oglala woman and a Confederate general killed at Gettysburg; General George Crook, who bitterly resented newspaper reports that he had been whipped by Crazy Horse in battle; Little Big Man, who betrayed Crazy Horse; Lieutenant William Philo Clark, the smart West Point graduate who thought he could “work” Indians to do the Armys bidding; and Fast Thunder, who called Crazy Horse cousin, held him the moment he was stabbed, and then told his grandson thirty years later, “They tricked me! They tricked me!”
At the center of the story is Crazy Horse himself, the warrior of few words whom the Crow said they knew best among the Sioux, because he always came closest to them in battle. No photograph of him exists today.
The death of Crazy Horse was a traumatic event not only in Sioux but also in American history. With the Great Sioux War as background and context, drawing on many new materials as well as documents in libraries and archives, Thomas Powers recounts the final months and days of Crazy Horses life not to lay blame but to establish what happened.
With the Great Sioux War as background and context, drawing on many new materials as well as documents in libraries and archives, Powers recounts the final months and days of Crazy Horse's life not to lay blame but to establish what happened.
Howand#160;a loneand#160;manand#8217;s epic obsession led to one of Americaand#8217;s greatest cultural treasures: Prize-winning writer Timothy Egan tells the riveting, cinematic story behind the most famous photographs in Native American history -- and the driven, brilliant man who made them.
How a lone manand#8217;s epic obsession led to one of Americaand#8217;s greatest cultural treasures: Prizewinning writer Timothy Egan tells the riveting, cinematic story behind the most famous photographs in Native American history and#8212; and the driven, brilliant man who made them.
and#160; Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudeville stars, leading thinkers. And he was thirty-two years old in 1900 when he gave it all up to pursue his Great Idea: to capture on film the continentand#8217;s original inhabitants before the old ways disappeared.
An Indiana Jones with a camera, Curtis spent the next three decades traveling from the Havasupai at the bottom of the Grand Canyon to the Acoma on a high mesa in New Mexico to the Salish in the rugged Northwest rain forest, documenting the stories and rituals of more than eighty tribes. It took tremendous perseverance and#8212; ten years alone to persuade the Hopi to allow him into their Snake Dance ceremony. And the undertaking changed him profoundly, from detached observer to outraged advocate. Eventually Curtis took more than 40,000 photographs, preserved 10,000 audio recordings, and is credited with making the first narrative documentary film. In the process, the charming rogue with the grade school education created the most definitive archive of the American Indian.
His most powerful backer was Theodore Roosevelt, and his patron was J. P. Morgan. Despite the friends in high places, he was always broke and often disparaged as an upstart in pursuit of an impossible dream. He completed his masterwork in 1930, when he published the last of the twenty volumes. A nation in the grips of the Depression ignored it. But today rare Curtis photogravures bring high prices at auction, and he is hailed as a visionary. In the end he fulfilled his promise: He made the Indians live forever.
About the Author
“More than the story of Crazy Horse or the battles between two implacable foes, Powers gives us a portrait of a place—a portrait done in the blood of the heartland, a heart still beating after all these years. Powers has given us a great book, a great painting of that still beating heart.”
—David Treuer, The Washington Post Book World
“[A] richly textured account of clashing civilizations on the Great Plains during the late 19th century . . . Carefully and elegantly wrought . . . Powers tells us much that is revealing and moving about the Sioux in their last days as free warriors.”
—Evan Thomas, The New York Times Book Review
“A story rife with intrigue, rivalry, factionalism, jealousy and betrayal. Mr. Powers works through this maze with admirable insight . . . . His narrative [is] solidly grounded in original sources and extensive field work . . . The Killing of Crazy Horse will stand the test of time.”
—Robert M. Utley, The Wall Street Journal
“Tremendous . . . The Killing of Crazy Horse is one of the most moving and compassionate books on the Indian Wars published in some time.”
—Andrew Graybill, The American Scholar
“Tom Powers’s masterpiece, long awaited and very worth the wait. It's one of the finest books yet written about the American West—dense with insight, filled with fascinating characters, including a fine portrait of the enigmatic warrior Crazy Horse. Anyone interested in the settlement of the West should hurry and buy it.”
“A compelling look into the politics and prejudices that shaped the era . . . Evocative and evenhanded . . . A rich and worthwhile read.”
—Makiia Lucier, Portland Oregonian
“Lucid, controlled and compulsively readable . . . A skillful synthesis of historical research and contested narrative, resonant with enduring loss.”
“A richly detailed, sensitive and evenhanded portrayal . . . Drawing on firsthand accounts by soldiers and officers, settlers and Lakota, the author assembles a savvy analysis of the conflicting interests and worldviews at play. . . Crazy Horse’s final minutes are handled with aplomb by the author, as is the warrior’s shifting legacy in the decades after his death.”
“This beautifully written and absorbing work is less about the death of Crazy Horse and more about the personality and life of the Native American icon. It is also an insightful and scrupulously fair examination of the culture of the Plains Indian bands and their interaction with advancing white civilization in the nineteenth century.”
—Jay Freeman, Booklist
“Intricately structured and exhaustively researched, Thomas Powers’s powerful narrative thrashes its way through the thickets of the Big Horn and Yellowstone Expedition to solve the conundrum of the killing of Crazy Horse. By giving equal weight to the Indian narrative, Powers gives the story the complexity it deserves.”
—Ted Morgan, Pulitzer Prize-winning journalist and author of Wilderness at Dawn: The Settling of the North American Continent and A Shovel of Stars: The Making of the American West
Table of Contents
Encounter on a Volcanoand#160;23
The Big Ideaand#160;41
With the Presidentand#160;81
In the Den of the Titanand#160;105
Anglos in Indian Countryand#160;121
The Artist and His Audienceand#160;137
The Custer Conundrumand#160;159
The Most Remarkable Manand#160;179
On the River of the Westand#160;193
New Art Formsand#160;207
The Longest Daysand#160;279
Fight to the Finishand#160;291