You may have noticed that there are now ads on the website. That’s on me . . . this is not a free account, and I have my annual site renewal coming up, so every little bit helps. Anything above what it costs to run the site will naturally go towards my research and historical work, which as one might imagine is also expensive. I greatly appreciate your patience with this transition, and please do let me know if the ads become a hindrance to your ability to enjoy or read the posts here.
Also, as I wrote last week the final year of letters is going to take more time to produce, if for no other reason than there are twice as many letters for this period! Which is exciting, obviously, but it also means I’m going to need some time to review and write about them.
So what will I do in the interim?
First of all, I’m bringing back the book reviews! Since I have a stack of books about World War II, I might as well get started and update you on how that’s going. Since Friday is a good day for those, I will try to keep posting those each Friday, starting with this one.
In addition to that, one of my buddies from grad school recently posted a series of posts on Facebook about his ten most influential albums. I thought that was a pretty cool concept, but Facebook being what it is, I didn’t want to place my content there . . . so why not blog about them? I spent some time thinking about it, and I’m going to share them with you over the next few weeks here, along with some stories, some historical context, and a little bit of musical criticism.
Of course, those of you who know me are probably aware that I never really put away my flannel shirts and Smashing Pumpkins CDs, so I narrowed my choices down to a wide variety of albums that reflect a broader range of interests and (as the list would imply) influences. Not necessarily my Desert Island albums, but those albums that challenged me, that opened me up to new worlds and pushed me in new directions. There’s some Johnny Cash, some Curtis Mayfield, some Sleater-Kinney, some . . . well, you’ll just have to stay tuned! And as I go through the list, I would love to hear your thoughts as well. Do you like these albums? Hate them? What should be on this list that isn’t? Please let me know in the comments!
Finally, a bit of good news: on Saturday I received the proofs for my upcoming book, Never Caught Twice: Horse Stealing in Western Nebraska, 1850 – 1890. The book itself is gorgeous – the type, the font, even the title page . . . it all looks fantastic. The University of Nebraska Press does a fantastic job with all of their books, but I really love how they produced mine.
My job now is to review the proofs for typographical and layout errors over the next couple of weeks, and then send it back to be printed.
Between travel and midterms grading I will not be able to post a book review this week. Instead, I have posted the talk that I gave a few weeks ago at the Western History Association Conference in Las Vegas. It was for a panel discussion of Jon Lauck’s The Interior Borderlands: Regional Identity in the Midwest and Great Plains, for which I contributed a chapter (you can check out the book on Amazon or at the Center for Great Plains Studies Online Shop). I hope that no one minds the gratuitous references to early 90s music or cow butts. Have a great weekend! – Matt
This past summer marked the 25th anniversary of the album Purple by Stone Temple Pilots. This was one of the cornerstone albums of my youth, so I’ve been thinking it about it some over the past few months. My favorite track on the album, and probably one of the most popular songs from the 90s overall, is “Interstate Love Song.” While the lyrics themselves are about, according to Scott Weiland, “honesty, lack of honesty, and . . . heroin],” the song’s title in my fourteen-year old brain became associated with . . . well, the Interstate. And the specific image it brings to mind for me is from a road trip my family took in the spring of 1995. My brother and I piled into the backseat of my parent’s Ford Escort – not the best car choice in the world for a family with two teenage boys, but it wasn’t my call – and we drove from our home in St. Louis to Colorado Springs. I had never traveled west of Springfield, Missouri before that trip, and I’d never seen what folks in the West would call “mountains.”
Anyway, while my parents kept scanning the radio dial for the strongest oldies stations, I fortunately had a Walkman, and a mix tape I made from the radio which had, among other tracks, “Interstate Love Song.” And now, as I think back on that song, and as much as that song and that album for me provided the soundtrack for my early teenage years, the first and last image that comes into my mind when I hear it today is this: the flat, level horizon of the west Kansas prairie along Interstate 70. And me thinking that, somewhere between Topeka and Hays, we had entered someplace new. The rolling hills of Missouri and eastern Kansas were gone. The trees were gone. The curves in the road were gone. And I remember just staring at that distant green horizon, knowing but not quite understanding either the song lyrics or the fact that we had left the Midwest and had entered the Great Plains.
This nebulous, invisible border between the two stands in stark contrast to what we found when we arrived in Colorado: the Rocky Mountains rising abruptly and sharply from the prairies below. Flying over the Front Range, you can even see the sudden uplift of the first foothills beginning in peoples’ backyards!
But for most people traveling east to west, the eastern border of the Plains is less perceptible. It was even less so for the hundreds of thousands of migrants who made the trip on foot, on wagons, or on horseback. The border was experienced and usually noticed after the fact: alkali water, less interesting terrain, less shade, different animals, taller grass, even more annoying insects. Trail diaries and memoirs are a fantastic resource for getting a sense of where migrants believed this border lay. Of course, these recollections lack the specificity and certainly of Stephen Long’s 1820 expedition report in which he infamously characterized Nebraska as a “Great Desert,” or John Wesley Powell’s claim in 1878 that the 100th Meridian provides a clean and intuitive border between the arid Plains and the more agriculturally suitable Midwest. Many Western Historians – including me – have satisfied ourselves with these so-called official explanations, and have used them to frame both contemporary experiences as well as our own, making them more intelligible and perhaps less surreal. But trail diaries and official reports both lack a broader, dynamic sense of not only where this so-called border lies, but how it changes over time, and how the ecological, agricultural, and geographic borderland it anchors between the two regions affects the evolution and development of communities, institutions, language, and even the stories we tell about how we won the West.
This book, Interior Borderlands, goes a long way in expanding the ways in which we think about this border by treating it as a borderland zone in its own right. And borderland zones are both fascinating and essential in that they force us to think critically and creatively about how borders and transitional zones affect historical change. This book and the breadth of ways in which its authors approach and treat both the border’s definitions and its impact on surrounding peoples, cultures, and economies has already influenced at least one historian’s approach to the middle border: my own.
Of course, credit for this change lies outside of my own contribution to the volume. The chapter I included for this book utilizes several advertising tracts I found at the Huntington while researching my book on horse stealing in Nebraska These brochures were created by ranch and railroad companies trying to sell off their massive Great Plains land holdings. These tracts were fascinating, providing a wide variety of exaggerations and distortions about the arability of the lands for sale. Yet unlike Scott Weiland in “Interstate Love Song,” who expresses genuine remorse for misleading his girlfriend about his heroin habit, these pamphlets almost exulted in their lies. As a result, the growing desperation and hyperbole that characterized land sales in western Nebraska created a kind of real estate borderland there, where the aridity of the climate in that region forced sellers to either oversell the land’s benefits or, in the case of some less unscrupulous sellers, propose practical solutions to maximize profit, like growing alfalfa or supporting bonded irrigation districts.
But while I confess to using some of my unused dissertation research for this chapter, once this book came out earlier this year it spurred me to think differently about my research on horse stealing in western Nebraska along the 100th Meridian. Specifically, it helped me recognize a fact that has eluded me for ten years: that the interior border between the Plains and the Midwest not only affects the distribution of stock grower associations and anti-horse thief associations, but the absence of the latter west of that border dramatically impacts how farmers view the morality and necessity of violent vigilantism.
Stock grower organizations brought self-imposed regulation to the once wild-and-wooly range where ranchers could steal from one another, but could not chase rustlers far beyond their own territory. Unlike the homesteaders and settlers who employed vigilante rhetoric to make up for the perceived inadequacies of law enforcement, ranchers relied on an individualistic, libertarian ethos and rhetoric that fought federal range regulation on the one hand, while promoting advances in veterinary science on the other. Much of this stemmed from the ranchers’ original goal of banding together and busting up the gangs of horse thieves and cattle rustlers that once preyed on their ranches.
While the inspiration for stock-grower associations came from Texas and Mexico, farmers’ organized responses to horse stealing could be found further east. After the Civil War, hundreds of thousands of farmers across the Midwest joined local, state, and even national anti-horse-thief societies. Similar in organization to stock-grower associations, these groups usually collected dues for income, relied on an executive committee to disseminate stolen horse information and pursue thieves, and often filed articles of incorporation and formally adopted constitutions with county and state authorities.
Unlike their western counterparts, however, anti-horse-thief associations borrowed heavily from the Freemasons. Members usually gathered in secret and often incorporated rituals into their meetings. These societies grew quickly and over a wide area because anti-horse-thief societies were a tailor-made response to horse stealing. They channeled the concerns of worried farmers across the Midwest, alleviated anxieties over inefficacious law enforcement, and in general expressed the precariousness of the postbellum agricultural economy.
Despite the popularity of anti-horse thief societies across the Midwest, western Nebraskans expressed little enthusiasm for the idea. This was likely because the conditions that made homesteading in western Nebraska so difficult overall—namely poor rainfall—prompted many sodbusters to leave the state before they had firmed up their land patents. Farmers often moved into and out of townships, creating demographic and population turnover and resulting in the more economically successful and socially connected people in most communities throughout the region being ranchers, not farmers. Homesteaders in Nebraska had common cause with one another, but because too few people stayed on their claims long enough to build stable communities they could not effectively direct their anxieties into productive group-building. This explains why stock-growers’ associations were the primary organizational tool in the region for combatting rustlers and horse thieves, as well as why homesteaders and other farmers in western Nebraska often embraced violent solutions and rhetoric when dealing with horse thieves.
At any rate, in spite of both my own participation in this project and this book’s influence on my own work since it came out, I don’t really believe that the book satisfactorily answers its own question of where this middle border lies. But I don’t think it needs too. Perhaps the interior border is, above all else, impressionistic, biographical, even visceral. The very amorphousness of it demands that we interpret it experientially, though the prism of our own stories and aspirations, which in turn gives it power. It’s why the legendary Canadian rock band The Tragically Hip’s aptly-named song “At the Hundredth Meridian” conjures up such vivid imagery in its lyrics:
Driving down a corduroy road (crashing through the window) Weeds standing shoulder-high (through the window) Ferris wheel is rusting off in the distance At the hundredth meridian Where the Great Plains begin
The Tragically Hip, “At the Hundredth Meridian”
And it’s probably why “Interstate Love Song” resonates with me so many years later. Not because of the topical appropriateness of the lyrics I heard through my headphones, but because of the strange, sublime, incomprehensible, and unforgettable beauty of what I was seeing for the first time outside my car window.