Plains Folk

Prohibition as a historical subject is easy to caricature: shifty bootleggers, dauntless G-men, assumptions of futility. We like the broad strokes of how prohibition, established constitutionally in 1889, went down here in North Dakota. We love to tell the romantic stories of rumrunners along the Canadian border and booze wagons crossing Red River. On the ground, though, the action was fraught with contradiction and complexity.

When club women across North Dakota learned by newspaper exchange that their peers across the country were seeding their public libraries by means of book showers — celebratory gatherings where citizens brought in donated books to stock the shelves — they quickly made book showers a recognized community development. This emergence, generated by second-generation club women, took place in the early years of the twentieth century.

By the action of a local donor, the town of Canton, South Dakota, had a new public library in 1913. They had the building, but unfortunately, no books. The night of its opening, however, they turned on the lights, and as reported in the local press, “the public came in throngs all bearing books,” books “of every description.”

Cain and Abel were only the beginning, it seems, from the point of view of the American plains. It was possible, as they sang in the old musical Oklahoma, for the farmer and the cowman to be friends. Up and down the Great Plains, however, the growing pains of the country included conflicts between agriculturalists and pastoralists, or between rival groups of stockmen.

In her charming book about McIntosh County, Along the Trail of Yesterday, right under Seth McNeal’s 1886 Independence Day ballad singing the praises of pioneers, appears a photograph of the stone monument to the same: a squarish obelisk alongside which stands a bullet-pocked tin sign saying, “Old Settlers Monument Original Site of Hoskins First Settlement McIntosh County Established 1884 / Monument Constructed Out of Local Rocks and Names Chiseled by Herb Larimer Ashley Pioneer.”

The ten speculators who laid out the anticipation town of Hoskins beside the lake in McIntosh County in the mid-1880s were aspiring capitalists; every action bespoke their acquisitive visions. Such restless souls always saw themselves as something more, something praiseworthy and eminently American, worth remembering when their physical works were gone. Perhaps to be celebrated in song and story, or songs that were stories.

Our notions as to how any particular tract of prairie came to be settled in the nineteenth century are important. We project our values onto the process. Some of us, farm folk perhaps, like to envision sturdy, wholesome plowmen who look like Charles Ingalls fanning out across the landscape to build little houses and raise little families on the prairie. Others of us, more industrialist by nature, point out that everything starts with the railroads, establishing a business ethos from the beginning.

The laundry business became competitive in Bismarck in 1877, when two Chinese businessmen, Sing Lee and Sam Lung, opened for business. Since the Northern Pacific Railroad had not yet crossed the Missouri River, the laundrymen came up from the Black Hills, where many of their nationality were serving the new goldfields.

A few years ago a popular author came out with a popular book titled, The Children’s Blizzard. Credit where due: he effectively captures the catastrophe and trauma that overwhelmed the people of the plains on 12 January 1888. They called it “the children’s blizzard” for the same reason that it seared a deep scar into historical memory — because of the many schoolchildren, from North Dakota down into Oklahoma, who were caught out in the storm, scores perishing, along with their teachers.

It seems I had to travel to Winnipeg to discover, in the inventory of a favorite bookstore, that there is a new biography of Larry McMurtry, our late great American novelist, written by a chap named Tracy Daugherty. This life is an absorbing read for me, but not always a comfortable one, as so much of the narrative knife cuts to the bone.