Errol Flynn, Kit Carson, & a dark Louis Kraft future

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


My past is my future, and my future is mine.
It has arrived and it is time to share.

Music plays a big part in my life …

“From the Indian reservation to the governmental school … and
there are drums beyond the mountain … Indian drums that you can hear.
There are drums beyond the mountain … and they’re getting mighty near. Lone
Pine and Sequoria, Handsome Lake and Sitting Bull, … Crazy Horse the
legend, those who bit off Custer’s soul, … they are dead
but they are living with the great Geronimo. …”

Johnny Cash’s “Bitter Tears,” is one of the best albums ever produced. Except for the song, “Custer,” which is pure fiction and much-much worse, Johnny’s entire album, other than “Custer,” is brilliant.

“Drums” by P. La Farge and performed by Johnny Cash is dated (I originally enjoyed this song on his great album, “Bitter Tears,” which is totally from the American Indian POV on 33 1/3 RPM but only have it now on CD w/o a copyright date). I like Johnny’s music but I’m not his best fan. This said, his “Bitter Tears” album is extraordinary, and is easily near the top of my favorite 10 albums of all time (challenging John Lennon, Michael Parks, Alan Jackson, Patsy Cline, Norah Jones, Laura Branigan, and John Anderson for the leading spots).

If ever I sang in public—God forbid!—this is the song that would lead off my music set. A forthcoming blog will again deal with “the song remembers when,” and you can bet that Cash’s “Bitter Tears” album, along with more on Johnny’s legacy, will be featured in my second blog that focuses on music.

This is me, music, my daily working life, and yes, music plays a big role in my daily life.

The LK writing future begins today

As of today my entire writing future is no longer as it once was. I love my past writing life, but now I’m walking into what will eventually become my second writing past. I know, this sentence tells you nothing. Well hell; I mean good, for we’re making progress here.

You may think that you know me, but you don’t. I share a lot, and perhaps more than most people that you know, but you don’t know me. No one knows me completely, for I’m a very private person. This is totally based upon my past, for it has been one long string of tragedy, failures, and dreams that never happen. It’s my life, and I love it for without it I wouldn’t be me. I wouldn’t be the LK living in at the end of 2019 with all my special memories and special people. Here I’m talking about my huge network of writer-historian-artistic friends as well as all the people I cherish worldwide, for without any of you I would have no life and no future.

This is my first portrait of Ned Wynkoop. I based it on the woodcut that appeared in the May 11, 1867, issue of Harper’s Weekly, which has been in my private collection for decades. It was originally published in Custer and the Cheyenne: George Armstrong Custer’s Military Campaign on the Southern Plains (Upton and Sons, Publishers, 1995). (art © Louis Kraft 1990)

The only way you will ever know me is if I dare to complete that memoir that I’ve talked about off and on over the years. If I dare to complete this project, I will approach it as I do with all of my nonfiction work—attempt to tell the truth wherever that documentation trail leads. I think that Errol Flynn did a magnificent job—with help—of telling the truth in My Wicked, Wicked Ways (Putnum,1959). Perhaps so, but if he had lived to see his book’s publication he would have had his ass sued from here to kingdom come.

Lesson leaned: if you write a truthful memoir, make sure you are dead before it is published. For the record I have spent a good part of my Indian wars nonfiction life writing about two gentlemen who harbored the typical prejudices of life on the frontier (1860s & 1880s), but were able to realize that Cheyennes and Arapahos (1860s) and Apaches (1880s) were human beings. This, ladies and gentlemen, was, and is, a two-way street.

I created this portrait of Gatewood specifically for Lt. Charles Gatewood & His Apache Wars Memoir (University of Nebraska Press, 2005). (art © Louis Kraft 2004). It has since been printed in a magazine and as a post card.

I can’t begin to tell you how many Cheyennes, Arapahos, Apaches, and other American Indians did to accept the invading white man and co-exist peacefully with him. These two white men were Wynkoop and Charles B. Gatewood. Both attempted to write memoirs of their time with the Cheyenne and Arapahos (Wynkoop) and the Apaches (Gatewood). Neither completed a rough draft, and yet they—along with many others on the frontier whose memory changed with time (and remember that they didn’t have all the documentation that I have at my fingertips) have been attacked, for their views don’t coincide with modern-day historians whose tunnel vision is so extreme that they refuse to adjust their preconceived visions of their premises. … Memories change over time. Theirs did, mine does, and so it is with you.

All my work on Sand Creek and the Tragic End of a Lifeway is finished!

… And this is good.

This is a major statement, for this project has been a massive undertaking.

LK and OU Press editor-in-chief Chuck Rankin at the Western History Association convention in Newport Beach, California, on 17oct2014. (photo © Pailin Subanna-Kraft 2014)

Honestly, I can’t begin to tell how much I have cursed former University of Oklahoma Press editor-in-chief Chuck Rankin over the years, for not walking away when I told him I didn’t want to write a book about the Cheyennes and Arapahos and the heinous attack on their Colorado Territory village on November 29, 1864—an attack that should have never happened for representatives of the U.S. military had guaranteed their safety if they camped there. This said, Chuck is a marvelous person, one I call friend, and since the beginning of this century he has been the key player behind my last three nonfiction Indian wars books. This is no small statement, and I can only wonder where my writing trail would have led if not for him.

Chuck led the way, and opened the door to my relationship with the University of Oklahoma Press; making me one lucky writer, for OU Press is the best publisher of Indian and Indian wars books in the world. Here I really need to talk about my ongoing association with the entire editorial, marketing, and production staff, as well as their copyeditors (which are outsourced). I had requested photos from current editor-in-chief Adam Kane and managing editor Steven Baker (who I have enjoyed working with since Ned Wynkoop and the Lonely Road from Sand Creek), but they’re shy. So was Chuck, but he didn’t learn to duck when I or Pailin pointed a camera or phone at him.

I have completed all of my work on Sand Creek and the Tragic End of a Lifeway, and Steven Baker is the key reason why. I can’t begin to tell you how patient, understanding, and hard working he is. Steven has had my back during the entire production process (photos and art, three maps, two copyedits, two book proofs, the detailed index, and the dust jacket), and he has done everything to make the book as good as possible. The publication date is March 12, 2020; its preorder listing is on Amazon (and elsewhere), and it includes the dust jacket blurb that is right on target for what the book is about (to see it, click: Sand Creek and the Tragic End of a Lifeway on Amazon).

OUCH!!!!

The above sounds like it was a slam dunk. Not even close, for I can’t remember the last day I had off until this Christmas, which I did take off—and it was special.

But, this book was special too …
At the beginning of the project I constantly struggled with my decision to sign the contract. And even more so as the days, weeks, months, and years flashed by with no end in sight. Eventually I grew into the project, accepted it, and looked forward to what the next day would bring. I needed to walk with as many of the participants in the lead up to the murder of people at Sand Creek in Colorado Territory in 1864 as possible. More important, I had to separate myself and attempt to view their words and actions in their point of view. I also had to place myself within the village on that fatal day. I had to see the scramble to survive, the sexual butchery, and more—the aftermath that led to end of the Cheyenne and Arapahos’s freedom, religion, language, and lifeway. Little more than prisoners of war they would do what the white man dictated, or face the consequences.

All my books live on in my life, but Sand Creek and the Tragic End of a Lifeway has become the centerpiece of my writing life. If I became homeless and could only have one piece from my writing life with me, it would be this book.

My work on Sand Creek and the Tragic End of a Lifeway is over

But it isn’t, for I never stop learning and there’s always add-on work (alas, there is another piece of my life that will impact my future).

Some of what is coming:

  • An ongoing relationship with Editor Stuart Rosebrook and True West magazine in 2020 and beyond. It will include articles related to the Sand Creek story, as well as articles dealing with my writing past and hopefully future.
    • This began in earnest this December when I delivered the first article on Cheyenne chief Black Kettle.
  • Upcoming talks with Gordon Yellowman, and LK solo.
    • At the moment, Gordon and I have a confirmed talk at the Washita Battlefield National Historic Site in Cheyenne, Oklahoma, on November 8, 2020. I will talk about Cheyenne chief Black Kettle. I’ll also talk about the attack on the Sand Creek village while the Called Out People flee for their lives at the University of New Mexico in October.
  • A massive delivery to the Louis Kraft Collection at the Chávez History Library, Museum of New Mexico, Santa Fe. It is mandatory for I cite it often in Sand Creek and the Tragic End of a Lifeway. A lot of work has already been put into preparing for this delivery, but I’m not close to selecting everything that will be making the trip.

LK standing in front of the exterior entry to the Chávez History Library on July 4, 2006. (photo Louis Kraft © 2006)

    • It will include my writing, research, correspondence, photos, and art from my writing since the last delivery, plus information from my past that I had not yet provided.
    • It will also include writing from my past that I completed but never sold such as proposals and manuscripts, as well as artifacts that I own, but now believe belong in a museum for everyone to view and experience (and not be kept in a private collection).
      • We’re talking about Indian wars, and the Golden Age of the Cinema artifacts.
    • Finally, I may include research, correspondence, and drafts from projects that I haven’t completed, and perhaps now never will.

Let’s take another music break

There’s a lot of music in my life. Much of it’s world music from the Andes to Spain, Cuba, Mexico, China, Thailand, and beyond—and this includes the massive amount wonderful American Indian instrumentals and vocals. Of course there’s soundtracks, some classical, and you can bet your bottom dollar on rock ‘n roll and country and a little bit of blues.

Deportee (Plane Wreck at Los Gatos)                           

The crops are all in and the peaches are rotten,
The oranges are packed in the creosote dumps.
They’re flyin’ them back to the Mexican border,
To save all their money then wade back again.
My father’s own father, he waded that river:
Others before him had done just the same.
They died in the hills and they died in the valleys;
Some went to heaven without any name.

This great album also featured a song that I played at my brother’s funeral in March 1990 (“Highwayman”). Lee was a rebel, and so have been these four singers. All five have influenced my life more that I could ever share.

Four singers have stood out: Waylon Jennings, Willie Nelson, Johnny Cash, and Kris Kristofferson. Instead of beginning as a member of a band (such as John Lennon with the Beatles), they formed a band long after they attained solo success as The Highwaymen. I luckily saw Waylon perform live at the famed Palomino Club in North Hollywood when he was young, and Willie when he was old, but not ancient, at the Hollywood Bowl. Alas, I never saw Johnny or Kris perform, and worse never saw The Highwaymen live.

Goodbye to my Juan, goodbye Rosalita;
Adios mi amigos; Jesus y Maria.
You won’t have a name when you ride the big airplane.
All they will call you, will be: “Deportee.”

Some of us are illegal and others not wanted;
Our work contract’s out and we have to move on.
Six hundred miles to the Mexican border.
They chase us like rustlers, like outlaws, like thieves.

Obviously “Deportee (Plane Wreck at Los Gatos)” is one of my favorite songs. Many artists have sung it, but my favorite version is by The Highwaymen with Johnny taking the lead.

Goodbye to my Juan, goodbye Rosalita;
Adios mi amigos; Jesus y Maria.
You won’t have a name when you ride the big airplane.
All they will call you, will be: “Deportee.”

Woody Guthrie wrote the song in response to a plane crash in California on January 28, 1948 (music by Martin Hoffman), in which racist newspaper and radio reporting of the tragic event refused to name the deceased and grouped all of them as “deportees.”

The sky plane caught fire over Los Gatos canyon;
A fireball of thunder, it shook all the hills.
Who are all of these dear friends, scattered like dry leaves?
The radio said they were just “Deportees.”

Goodbye to my Juan, goodbye Rosalita;
Adios mi amigos; Jesus y Maria.
You won’t have a name when you ride the big airplane.
All they will call you, will be: “Deportee.”

This is one of the saddest songs I have ever listened to, and it affects me every time I hear it, for it reminds me of how callus, inhuman, racist, and hateful our homeland has become since that dark flash of time in 1948 that is now long gone.

Woody Guthrie (right) was a singer-songwriter before his time. He documented what he saw and what disturbed him. This is something that all of us should do—document our world, current and past. … I try to do this. 

One other small impact to what’s coming

Something is going down in my life, and I don’t know what it is. Actually, no one does. What follows is optimistic. Heck, I’m always optimistic. I had been enjoying myself by stating that I needed to live to 130 to complete all of my projects, and that was probably a true statement. But times have changed, and that has led to a revised and much-shortened blog. There are two books that I have a realistic chance of completing first or polished drafts of in 2020. There are two follow-up manuscripts to these books that require more research, and that will begin in 2020. … My future is out there, and it will impact what I just stated.

Errol Flynn is the perfect lead-in to my writing future

Why? The answer is simple: he is the leading player in my writing future. This said, I don’t want to mislead you for as in the past I mix and match all my work. Flynn and Olivia de Havilland have had a presence in my talks and published work since the mid-1990s. It hasn’t been large, but it exists. Come 2020, everything changes in my priorities. This doesn’t mean that I’m turning my back on the Sand Creek saga, or the major players (such as Black Kettle, Little Raven, Ned Wynkoop, and so on) for I’m not. It also doesn’t mean that I’m walking away from the Indian wars, for I’m not.

Why Mr. Flynn?

For the record, two of EF’s films influenced my entire writing future, but I was clueless when a teenager. What can I say? Life if great! (LK art of EF as George Armstrong Custer in They Died with their Boos On (1941),  © Louis Kraft 2013)

Simply put, I had set out to write a trilogy about his life. This grew to four with two partnered and the elimination of my third proposed solo manuscript. The year 2019 has been unlike any I’ve experienced in the past. Something happened, and it is impacting my life.

My brain functions; it keeps me alive, and I love it. I’m one lucky cowboy.

But you know me—I need to get personal before the main event

Let’s begin with that there is a lot going on in my life that you aren’t privy to. Most likely you’ll never be privy due to my being obscure (and this is an understatement). Bottom line, I’m a tease. It’s fun in the here and now, but a drag when long distance (and again, an understatement). It’s just me; sorry.

Times are tough, but it’s a lot more. This needs to be broken into subheadings (but they don’t deal with the understatements), for all of them are major to me. Let’s start with the land I love.

SoCal and Los Angeles

Ladies and gents I could write a book about my homeland. It would be nonfiction, and I would both praise and damn it. I’m going to start with a few positives that are out of this world:

  • Los Angeles is the melting pot of the USA
    • More people of different race and more languages are spoken in Los Angeles than any other city in the USA
  • The culture at my fingertips is astronomical
  • The diversity of restaurants are beyond belief (ditto the grocery stores)
  • Our weather is to dream for temperature wise
  • There are major archives that host subjects that have been and are key to my writing past and future

This image of Los Angeles and the San Gabriel Mountains was taken by Luis Sinco on 26dec2019 and printed in the Los Angeles Times on 27dec2019. (© Los Angeles Times 2019)

That’s right, I live in a writer’s wonderland (some might say, “a winter wonderland”). Go ahead and chuckle, but you can’t deny that this is why some of you rip LA time and again—jealousy.

The bad—that is, the very bad

Let’s begin this with I was accused of being a traitor for considering leaving the USA a year or two back. It ended a friendship. I’m good with this. Nothing more need be said, other than my exploration for where I and my loved ones could perhaps continue to live without joining the living dead that walk the streets of LA is constantly with me.

Know that I will never become a homeless person.

I’m not just talking about LA and SoCal but all of California. We now have four designations of people:

  • The rich class
  • The middle class, many of whom are now approaching the lower class
  • The lower class, many of whom are now approaching the homeless class
  • The homeless class
    I’m not going to say much about the homeless class, other than some (many more than “some”) have jobs, but they can no longer afford to own a home or to rent lodging.

LA Times columnist Steve Lopez keeps me updated

Steve (the dot and line image of him–left–reminds me of the woodcuts that I own and use from the 19th century in my writing, and I think that it’s terrific, and The Times prints it with all of his articles). He is one of numerous great columnists that the The Times employs, and let me tell you that they are worth the cost of the paper (Front page; plus California, Business, and Calendar sections), and without knowing, all of them must have staffs that supply much needed information (I need to feature them in future blogs, for their work is exceptional). This said, Steve walks the streets of Los Angeles, and he knows many of the people he writes about personally. He is a gentleman that I would like to know and hang out with. (art of Lopez © Los Angeles Times)

On 15dec2019 Steve continued his ongoing expose on the homeless situation in Los Angeles. It is both outrageous and heartbreaking. Some of Steve’s words and facts are all that need be said (they are from his front page column).

Steve began his December 15 column with: “Sometimes I wish I hadn’t seen the body up close, or the small pool of blood that dribbled out of the man’s mouth and onto a West Los Angeles sidewalk. I also wish I hadn’t seen the dead man’s open, empty eyes when he was turned over for examination by the coroner investigator.”

He was talking about a 61-year old man he knew, a married man, and father of five, who had some mental problems. This man, who shouldn’t be dismissed as little more than nobodies as the “deportees” were in Woody Guthrie’s magnificent song (above), lived. He walked the streets of LA, he was a human being, and he should not have had his end happen this way.

Several years back the residents of Los Angeles voted to increase taxes to aid and home the homeless. Not much has happened, but as Steve shockingly reports: Alvin Robinson was the 680th homeless death on the streets of LA this year (two more would die on the day of his death). As of his column of the fifteenth, 962 homeless people have died in Los Angeles County. Going back to 2013, the death count is over 5,620. These statistics are not acceptable. Los Angeles city and county needs to do something, or this epidemic is going to explode into a living nightmare of hell.

The good—that is, the very good (I’m being snarky)

It seems like the rest of the USA bitches that SoCal has no seasons. We have seasons, but they aren’t as traumatic as a good portion of the rest of our homeland. We don’t have snow and freezing temperatures six months out of the year. Let me tell you how much I hear friends—good friends—who complain about a snowstorm in April but who hate SoCal for our weather. The weather varies depending upon where we live, and now scientists in a recent report have guaranteed what all of us have experienced during the last three or four years is here to stay. That is raging firestorms, drought, freezing and snowbound winters, tornados, and hurricanes—all of which are pounding the hell out of Mother Earth.

House insurance is tripling in Los Angeles County in 2020;
making me one step closer to being a traitor to my country.
That’s right, I’m never going to get over that F—ing accusation.

I guess the above isn’t very good, but since all of us want a future I can say only one thing: If this is our future it is all we have (unless we change it). I wish it wasn’t so, but at the same time I’m thrilled to be alive. For me, this is “very good.”

I would be remiss if I didn’t mention the dark side

The 2019 fire season was again hell in SoCal.

This photo appeared in the Los Angeles Times on 29oct2019. The image was captured on the 28th; that was the day that Pailin couldn’t get out of the San Fernando Valley (see the text directly below this photo). I don’t know if you know, but the City of Los Angeles and the County of Los Angeles are a series of mountain ranges and valleys. The SFV has been threatened from the north, east, south, and west for the last three years. I don’t need to repeat what might happen if these fires aren’t stopped. In 2018 over 1100 LA County firefighters earned $100,000 in overtime; the number of firefighters with this amount of overtime pay is going to increase in 2019. The threat is no joke, and it makes the infamous California earthquakes second-class citizens. (photo © Los Angeles Times 2019)

The recent rain storms perhaps saved Santa Barbara, and certainly one of the famed Spanish missions that range across the state. The Ronald Reagan Presidential Library in Simi Valley, west of the San Fernando Valley, where I live, suffered $550 million in damage this summer but the buildings luckily survived. As always the SFV was attacked from various directions and twice fires blazed within five miles of my house (the northern side of the valley and Warner Bros. on the south side) and on another occasion within six miles.

This last was the (you choose the name) the Sepulveda Pass or the 405 freeway or the Getty Museum fire. The 405 separates the SFV from the Westside of Los Angeles (Westwood, UCLA, Brentwood, Beverly Hills, Santa Monica, Venice).

I took this image (right) of my beautiful wife on 11Dec2019 when we drank cups of good coffee at the Mercedes-Benz of Encino dealership. This is a first-class establishment, and we enjoy our time there. (photo by LK and © Pailin Subanna-Kraft & Louis Kraft 2019)

Pailin is a contractor and all of her work is on the Westside. On 28oct2019, when the blaze began (and all the southbound lanes in the Sepulveda Pass and the 405 freeway shut down), she spent over three and a half hours trying to get out of the valley and failed. If a major fire invades the SFV (and the threat has been constant the last three years), which has 1.7+ million residents (this is a .4 increase from the previous number of people I had reported), let me tell you hundreds of thousands of people will not escape the inferno.

The Books

Errol & Olivia

This book has been in the works for a long time. All I can say here is, bless all of my Errol Flynn and Olivia de Havilland fans for your patience. More important, your time has arrived, and that is that E&O will be my next published nonfiction book.* However you feel about this, it is at least a thousand times more important to me.

* I currently have 60,000+ words (some polished) and plan on a total of 125,000 words.

There’s still more writing, more polishing, and more research (research never ends). Hopefully when the book is published you will like it. I can promise you one thing, and that is that this book will not be like any book you have ever read about Errol Flynn or Olivia de Havilland in the past.Although I have shared this, the book will deal with their life and times during the eight films they made together at Warner Bros. between 1935 and 1941. I prefer to use art of them on the book cover, but if I can’t obtain the rights to use a painting or illustration that includes both of them that is appropriate for the dust jacket, I will use a photo (this will be easy to do, for I already know which series of images I’m going to pull from, but if this is the case I won’t share it until the cover design is final). One thing is certain, one of these photos from this portion of their time together will be in the book, for there are numerous images that are magnificent.

As with all my Indian wars nonfiction, this book will contain notes that point the reader to the location of the primary source research. There is a reason for this, and it is twofold. It allows anyone—a writer-historian or anyone else who has an interest in EF & OdeH—to view the material. This information should not be secretive, nor should it be hidden from the public.

On the dark side, way too often “would-be” historians create
their own facts and quotations while citing obscure historic documentation
that they think will not be viewed for no one has it or can obtain it. Vagueness
is not golden. You do not want to know my view of these slimeballs.

What has been printed is way too often in error

Hey folks, there are a lot of errors in print. Some are by writers who believed what they found in primary documentation or from books whose authors they trusted. I certainly am one of these writers. In the past I used quotes that were cited from documents in the National Archives (the cited material and how it was listed was pristine, but I didn’t have the original material to check and trusted the author (whose book I still have and like a lot). I’m a little ahead of myself here, but this is okay.

This image probably is confusing, and certainly for being placed here. Those of you who know me well, know that I have a very deep connection with film. These films feature Rod Taylor as the pirate Francis Drake and Jon Hall as the frontiersman Kit Carson. Both films are slightly above being B-films, but both, for the most part, represent the sole representation of these key players in British and American history on film. Both, if produced by a major American film studio could have been much better. They weren’t; my loss (and perhaps yours also). More below but only on one of these gentlemen.

In the mid-1990s I had written a Kit Carson article for either Arizona Highways or Persimmon Hill. The publication used peer reviewers who were subject-matter experts (this is how it should always be), and my article was rejected as the historical quotes were incorrect. I compared the quotes I submitted in the article with the quoted material from the book (mentioned above) and the words I submitted were spot-on. I had not erred, but I now knew that the author of the book or one of his editors blind edited the quotations (and left the reader in the dark). This was a lesson I never forgot. If I change text—let’s say from a lower case letter to upper case or rewrite a word or two—they are always in brackets. Copyeditors often silently delete my brackets. They don’t realize that during copyedits I read each and every word and check everything against what I submitted. When required I re-add the brackets, and in each instance tell them exactly why I did this, and that they are not going to delete the brackets.

In the past I have missed some blind edits and when I see them (often years later)
I scream at the heavens (and my language isn’t printable here).

Charles Higham made a lot of money by creatively creating false facts about major film stars. When I questioned Olivia de Havilland about what he wrote about her and sister Joan Fontaine, all she shared was “he is an unscrupulous man.” I have this quote in a letter from her, and it will be delivered to the Louis Kraft Collection in the near future.

There are other errors that often see print. Often they are created by lazy writers who do little research, but others are created by wannabe historians to sell books. Their false facts are heinous, and I’m being kind here. Unfortunately, there are way too many of these cretins that create fiction—that is facts and quotes—while falsifying obscure sources. I chuckle over this, for often I have their “obscure sources” in-house and you can take it to the bank that I check each and every note in their travesties that cites documentation that I have.

I’m certain that their point-of-view is that you can’t be arrested and put on trial for defaming the dead in the USA, which is true. Let’s look at this another way: these wannabe’s think that defaming the dead is their key to mega bucks. Snarky Kraft has a dark view of writers who defame the dead while creating false histories that are based upon their fallacious—that is their intended and deceptive—lies.

Worse, some of these deceptions are being reproduced in articles, books, and online. Hell, if it has been printed, it must be true. Nothing could be farther from the truth. I have been pinged for pointing out egregious errors in my Indian wars writing, and if it happens again—so be it.

How can errors be corrected if they are ignored?

How I approach documenting facts

Simple: by dealing with them when I am aware of them. Alas, often changes happen after I have seen whatever version of the edits that I will see. When this happens … Well, hell, you do not want to hear my view, for it isn’t printable. Unfortunately, my vocabulary is at times X-rated (those of you who know me, mostly consider me a kind-hearted soul who wouldn’t hurt an insect). The truth be known, ask my first wife, my daughter, Cindy Tengan, Diane Moon, Pailin, or others who know me intimately, and they’ll tell you that when upset LK is someone to avoid.

This LK art is based upon an early 1970s photo negative that was degraded to the point that it could never be restored. The photo was taken in my parent’s house and I didn’t want to lose it. I created the art  based upon the negative in the 2013 timeframe, and although it doesn’t date to the last half of first decade of this century it presents a good look at my former attitude—that is: shoot first and ask questions later. (art ©  Louis Kraft 2013)

This is not me being kind to me, for way too often in the past I found it difficult to control my outrage.

Here’s an example, but years have passed and I have mellowed with time. I needed to buy a new landline phone because mine had broken. “How?” the sales person wanted to know. “It just broke,” I replied. My then long-time lady friend Diane Moon was with me, and she spoke up. “He threw the phone at the wall and bashed it to pieces.”

As I just said, I have mellowed with time.
It’s long over a decade since I’ve killed a phone.

If I ever complete that memoir, and it is printed, I hope that you won’t faint. Sorry, but that’s just part of life. The truth is always much better than fiction when writing about people’s lives and the events in them. As a nonfiction writer, I have a responsibility to tell the truth as I have discovered it.

**********

Errol & Olivia will go in directions you may not expect,
but will add to their working time together, and will hopefully present
more insight into their professional and personal lives.

Book covers are of major importance …

… and I have played a major role in every one of mine since Upton and Sons published Custer and the Cheyenne in 1995. It’s a non-brainer, for a good cover can increase book sales.

This art appeared on DVDs and other media (I have a poster of it) and I like it or it wouldn’t appear here. Still, it is not close the 1976 United Artists Classic poster for the revival showing of their classic film in Los Angeles that year, which has better art, mimics the 1938 original poster while also being superior to the initial release art. Regardless of my view of The Adventures of Robin Hood, it is their iconic film for all time. Alas, it wasn’t close to their best film (or films) together. Still, it is must viewing for anyone who has an interest in Flynn or de Havilland’s film careers. (LK collection)

I want art of Mr. Flynn and Miss de Havilland on the cover of Errol & Olivia. To date I only have a cover from a long-dead magazine that I like. This said, there is a lot of great illustration art on film posters from days long gone. American, French, Spanish, German (some of the German art of the late 1940s is to die for), … This is perhaps a good way to go, but it will include two must-needed things (other than negotiating with the copyright owner, and that is: 1) Can the poster art be altered, and 2) What is the use fee?

Let’s discuss the poster art at the right. To make it work as a dust jacket cover is simple: 1) Remove the cover text within the shield and replace it with the book title and author credit, and 2) Remove the acting credits at the bottom right of the poster (Errol and Olivia’s credits must remain at the upper left—to balance the image while informing potential readers what the book is about).

Decisions, decisions, decisions.
I have time, but not much for I’m going to fly
through the completion of the first draft of Errol & Olivia.

But what if I can’t obtain the rights to use a painting or illustration that includes both of Errol and Olivia that is appropriate for a dust jacket? No problem, for I will use a photo from a very key point in their time together. The photos from this time are absolutely magnificent, but I’ve already said this above.

A first draft of Errol & Olivia in 2020 … Oops! How about 2021?

Oh yeah, this is going to happen. More important, ladies and gents, this isn’t a wild LK dream. But alas, this first draft of the manuscript will not be by the end of 2020—it is now by the end of 2021. The reason is simple; the year 2020 is going to busy and at this moment my goal is to deliver all I’ve promised through next fall, some of which is mentioned above. This said, with the publication of Sand Creek and the Tragic End of a Lifeway in spring 2020, the demands upon my writing life is going to expand. Working seven days a week has been my past and it certainly is going to be in my future. It includes stolen time with Pailin and my family. Although trips are work, they are also R&R, and they give me additional time with Pailin and my daughter—they are special time for me, and I love it.

But this isn’t the end of Mr. Flynn

During the year 2020 I will officially begin my research on a second nonfiction book on him. Some of it is already in house, but there is much to do. I’m certain that I’ve discussed the project in the past. If so, shame on me, for it should be a surprise. As with all my biographical efforts I prefer to focus on a piece of time, and again this will be the case. For those of you who have interest in this man, who was not only a good actor and writer, but perhaps the most un-racial person I’ve ever studied and written about, it will be worth the wait.

Another piece to LK’s writing future is also in the here and now

Originally it was a genre novel that dealt with race relations during the 1863-1864 Navajo campaign. As always in my fiction, the story was character-driven and dealt with the human element.

I can’t remember who took this image but he kindly sent me a low resolution of it. The photo was taken at the Little Big Horn Associates convention in Oklahoma City on 18jun2011, when Custer and the Cheyenne received the Jay D. Smith award for its contribution to Custeriana. A good night for LK.

It had been contracted in the early 1990s, but then the contract was broken. If this hadn’t had happened I would have never become a writer of nonfiction Indian wars books.

Never.

This is/was probably the luckiest unplanned change in my writing life, and I am forever grateful to Dick Upton of Upton and Sons, Publishers, for he had been pitching me to write a nonfiction book on George Armstrong Custer. I had been turning him down, but after the novel when belly up I called Dick. Probably one of the most important phone calls I ever made. I only have a few words to say about this—Bless you Dick, and your wonderful wife Frankie, for without you I would not have enjoyed the last 26 years of my writing life. Click the link to see my thoughts on Dick and Frankie when Custer and the Cheyenne won the Jay D. Smith award in 2011.

Navajo Blood

I’ve always liked my title for the contracted novel mentioned above. After the polished draft was accepted, the publisher (which was unfortunately nearing the end of life), dropped their western line. This story, which I’ve always liked, was exiled to a filing cabinet until this year. Like The Final Showdown (Walker and Company, 1992), it deals with real historical events and people who lived through them, and again has major fictional characters.

Kit Carson meeting with General James Carleton (left in art). For my purposes it is before the 1863-64 Navajo campaign and Carson is just receiving his orders. This was a task he didn’t want, and he has been damned for it, but by people who don’t know who he was or what he attempted to do to end a war he wanted no part of. For all the racist crap about Carson, consider this: he spoke seven languages and had three wives (Arapaho, Cheyenne, and Spanish). A racist? I don’t think so. This image is a detail from a painting on display at the Bosque Redondo Memorial (Fort Summer, N.Mex.). If you have never been there, I highly recommend it.

Mixing and matching of real and fictional players is something I like doing. In this case we’re talking about Kit Carson, his wife Josefa, and their children, as well as General James Carleton, and officers under Carson’s command during the 1863-1864 Navajo campaign, and major Navajo chiefs Manuelito and Barboncito. There are three leading players in the story: an aging fictional Navajo warrior (Pedro Hueros), his granddaughter (Margarita), and Carson. These three people converge on each other, and once they meet their paths lead toward tragedy—albeit not what you expect. It is a story about human beings forced into times that they want no part of, but must experience.

Tucson, June 2019, was R&R while opening doors to my writing future.
I’ve well-documented my meeting with Stuart Rosebrook and True West magazine,
but I have ignored a chance meeting while leaving the Western Writers of
America (WWA) convention’s hotel with Cherry Wiener (my agent
for
The Final Showdown, and a lady that I have always had a
good relationship with since our parting a long time gone).

If I walked to my left from this overlook I would be looking at the western side of Navajo Fortress Rock. (Photo © Louis Kraft 2012)

While in Tucson this past June I brought a number of the chapters the Navajo Blood manuscript with me to mark them up with how I wanted to update it—mainly 1) More character development, 2) More culture, 3) More dialogue, 4) More action, and 5) Writing the story as I do now, while not forgetting how I wrote it in the past. This is all doable due to adding an extra 35,000 words to the genre novel’s 65,000-word draft and turning it into an historical novel. This will begin in earnest hopefully in 2021, which makes this endeavor a sister piece to E&O. I don’t want to say that they’re joined at the hip, but they are the two major projects in my current life.

This is Navajo Fortress Rock. It is in Canyon del Muerto (the canyon of death), which is one of three canyons that are jointly known as Canyon de Chelly (pronounced “de Shay”). This is the only American national monument not on USA land—it is in Arizona on the Navajo Reservation. This view is from the north, and the only way to see it from this angle is to hire a Navajo tour guide with a four-wheel drive vehicle. It is a key set piece for Navajo Blood. (Photo © Louis Kraft 2012)

The plot is detailed and moves between Carson’s dilemma, that is Carleton’s demand to end the Diné’s—as the Navajos call themselves—freedom, and Pedro and Margarita’s struggle to survive at this time of woe. As the story progresses you’ll become aware that the final confrontation between the Diné and Carson’s army will take place at Canyon de Chelly, but this isn’t the ending. The story’s climax takes place at Fort Canby, after the Navajos have begun to surrender by the hundreds. It brings tears to my eyes every time I review it, but I can’t share this. The book has to be published for you to experience what happened at Fort Canby. Know that I’m cocky SOB, and have full confidence in this story seeing print.

Untitled Kit Carson/Indian nonfiction book

The announcements in this blog may have been expected, or perhaps not. But now I’ve reached my nonfiction Indian wars future—and Kit Carson and his relationship with Indians is it. Over the last few decades he has garnered a lot of bad press. I disagree with all of it. … All of it! Anyone who explores this un-racial man’s life will agree with me.

I have work to do—that is research—but it will happen, and his relationship with American Indians will dominate this portion of my writing future. I can’t begin to tell you how thrilled I am to really begin walking with him and the Indians in his life.

This nonfiction book idea has been with me for a long time, but I still need more primary source material to make it become reality. The goal is to complete this research in 2021 (I know, the next two years are a mouthful, but I’m always ambitious). At this moment all I can tell you is that the research will dictate the scope of the manuscript. I know what I’d like it to be, I know what I think it should be, but I must have the research to confirm what happened. … And some of it is so obscure that at this time I’m in the dark.

As soon as I have the research in-house and have a good idea of what the book will be I’ll talk with OU Press. At the moment there is a little uncertainty of my future with them, for the two terrific editors-in-chief that I have dealt with (Chuck Rankin and Adam Kane) will be gone. Still, OU Press is “the” publisher of American Indians and American Indian wars books in the world. They are my first choice. At the same time I know that other nonfiction publishers will jump after hearing the story idea. As the X-Files used to proclaim: “The future is out there.”

The above is all that is a comin’ at this time

I have hinted at the reason for this above
(and that a lot of future writing has been purged from this blog).

In June 2019 I enjoyed a work and R&R trip to Tucson, Arizona, a city I fell in love with in the 1970s. I can’t begin to tell you how much time I’ve spent there, but it is easily over six months throughout the years. … This past June something happened. I don’t know what, and neither do any of my doctors or their tests. Whatever happened, the attacks are constant and happen twice a month. Shots and drugs stop the fire, but nothing has ended it. This month I filled out the paperwork, which will hopefully garner me more paperwork to see if I can—that is will my drug insurance accept the extremely high cost, and more important that I can afford it (I know this answer now, and it is no). This drug, which may put an end to this misery, is going to remain unnamed (at least now). The year 2019 has been pure hell with drug and medical costs. My drug cost is well over $4,000. Pailin’s and my entire health care cost for 2019 is over $18,000, and this doesn’t include $6,000 USA dollars spent outside the country. …

During one of the episodes I chose not to initiate another
round of shots and drugs and the fire did not go away.

The impact has already begun …

… and it is ongoing. But I do believe that I will see Sand Creek and the Tragic End of a Lifeway published. I want to hold the book in my hand. This is an extreme statement and hopefully little more than nervousness on my part. Earlier this fall I saw an allergist twice. He performed over 260 needle tests during my two visits three weeks apart. After the second, he said: “I don’t know what’s wrong, but what you have I have never seen before. I can’t help you. Good luck.”

What you are looking at is a photo that Pailin took on the morning of 4oct2019. My face had creamed, burned, and has begun to peel. This is the first night-day of my problem. My face will now puff out and a triangular bulge under my eyes will move to my temples. Also, my back will become a rectangle of bumps, but they will only itch. The redness on my face will grow to a burn that is so extreme that I won’t sleep. The only way to avoid this is to get a shot and a huge package of prescription pills that will stop the process momentarily. After the pills end, I will have perhaps three, four, or at the most six days until the process again begins. With drugs, this is a twice-a-month happening. Honestly, it is hell without an end.  (photo © Pailin Subanna-Kraft 2019)

Just seven months ago i could walk 14 miles a week (and did). Now walking a quarter mile is extreme foolishness. I’m not going to go into any details but a lot of normal physical pieces of daily life are involved. Do not ask, for all I intend to share will be below.

In November I began to bleed internally. On December 23, when I presented my condition to the doctor who had been handling my case in the hope of obtaining yet another shot and drugs so that I would look presentable on Christmas, it ended in a “no.” The reason was simple: there had been no improvement over the months and now my condition had begun to change in a way he couldn’t deal with medically.

That December 23 initiated the beginning of my future, and one that is darker than before. I walked into another of my doctor’s offices, one who has played a big part in my health for decades. He knew what was going on, but wasn’t involved, and immediately began a series of tests. But like when I was cracking my skull open a few years back, something that led directly to an emergency surgery (and not just stapling my head back together), but giving me a new life in August 2017. These tests were an eye opener. Mainly my red blood count was extremely low, my balance non-existent, and my breathing belly-up (last May I passed all my breathing tests with flying colors, but on December 23 I failed every breathing test I took).

Pailin and I took this photo at Tujunga House on 18oct2019, two days before her niece and only relative in the USA (Sabrina) and Carlos (who is from El Salvador) married at Wat Thai of Los Angeles. We were in the wedding, but I wore my suit pants (Carlos wore the Thai pants in the ceremony) and Pailin looked as she did in this image. I had luckily dodged my transformation into a monster and this was a good time. (photo Pailin Subanna-Kraft & Louis Kraft 2019)

The testing is ongoing, and I’m prepared for each and every step of the process. I’m always proactive with my physicians. … My last medical appointment this year was on December 27. I walked into the office with a five-page document, which listed the medications and my changing physical status since last I saw him in early fall. We then discussed the reason for my visit, which was for a series of tests that we perform three to four times each year (and they aren’t related to my current situation). While we went through the process he raised the idea of my current physician in charge perhaps sending me to either the USC or the UCLA medical school to see if they have done any testing similar to what I’m experiencing.*

* Good friend and George Armstrong Custer and Little Bighorn battle expert and author Fred Wagner recently provided me with another lead that I intend to look into—that perhaps a parasite is the culprit.

After we completed my last test (an ultrasound; my third last week), he asked about my writing. I told him that I completed the detailed Sand Creek index in November, my reviews of the two book proofs in December, as well as signing off on the dust jacket, while adding that I had submitted my first article to True West on December 22. He shook his head and smiled. “I can’t believe that you did all of that in your condition,” he said. “My brain functions,” I replied, “and I love what I do.” He smiled again. “Good for you.”

Oh yeah, I’ve always been one lucky cowboy.

What is the future?

I don’t know what’s in front of me, other than I’ll cherish each and every moment of it. One thing is certain, and that is finances and health will be key in the upcoming years. I’m looking forward to whatever it will be.

If it is a race against time, I’ll have everything that I want—
my small family, my friends, my writing, and myself.

Sand Creek Massacre update, SoCal fires, P-64, & Christmas

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


The next blog is tentatively scheduled for late March, and will feature Sand Creek and the Tragic End of a Lifeway and Errol & Olivia updates. My apologies for moving the LK top 50 film list from this blog but there is still too much study that must be completed before my opinion on these films can go live.

’Tis the time of peace on earth
and goodwill to all

Christmas, like Thanksgiving, are now quiet gatherings with my family. It is a day to count our blessings and cherish each other as we pray for peace on earth and equality for all on the day that represents the birth of Jesus. Pailin and I will welcome in the New Year at the Thai Temple in North Hollywood on the evening of the thirty-first.

Pailin created this Christmas image of us for social media. The photo is from 2016 and it was from the last Christmas party we have hosted. It was mostly in the backyard until everyone moved inside after nightfall. That day was nippy, as was this Christmas. Both wouldn’t have been so cold if the wind hadn’t increased as each hour passed. … Just for the record I’m freezing when temperatures drop into the low 60s (no comment is needed). The last thing that I want to do is live in a winter wonderland. (photo © Pailin Subanna-Kraft & Louis Kraft 2016)

I talk to the little boys and girls who live next door. A large hedge along my 80-foot driveway separates us but clipping and removing branches that die during heat spells creates openings wherein we can see each other (and this includes a little boy who lives two doors farther south). They are Latino, but unlike some of their parents they are bi-lingual and speak terrific English. But if not, we’d still be friends. … I walk a lot, often to various stores, and see them in their front yards and when they walk with their parents. I’m almost always around, I have a car they like a lot, they also like my shaggy hair (compliments of yours truly) as theirs is neatly clipped. It matters not if they only had a handful of English for we’d still be able to communicate.

We talk almost daily, and it is enjoyable for us, as we are curious about each other. They had their Christmas tree at least a week and a half before the twenty-fifth. They wanted to know if I had mine. “No.” “When are you going to get it?” “I’m not.” “Why?” “I don’t have any children like you.” “Doesn’t your girlfriend want a Christmas tree?” I chuckled. “She’s my wife, and she’s okay without one. Actually, I haven’t had a tree since my little girl grew up.” “Oh.” There was disappointment in his voice. His simple “Oh” touched me and my memories drifted back to Christmas days long gone but not forgotten.

This card is a major update to a Christmas card that I created in 1992. There were three printed words inside the card: “life … love … peace …” These words are still with me today. May they be with you today, tomorrow, and forever … LK. (image © Louis Kraft 1992, 2018)

I’ve missed giving talks …

Probably the major piece of my life that Sand Creek and the Tragic End of a Lifeway forced me to walk away from years back were giving talks. They almost always got me on the road, and I love to travel. More important was/is the thrill of doing one-time presentations before audiences while not knowing what was going to come out of my mouth.

LK talking about “Cheyenne Indian Agent Edward Wynkoop’s 1867 Fight to Prevent War” at the Chávez History Library (Santa Fe, N. Mex.) on 15sept2004. BTW, this talk dealt with the destruction of the Southern Cheyenne-Dog Man-Sioux village on the Pawnee Fork in Kansas. It is a key piece in the Sand Creek manuscript Epilogue, which shows “the tragic end of a lifeway.” I shouldn’t say the following, but heck these blogs are for LK publicity (and hopefully offer a little entertainment). … The Chávez houses the Louis Kraft Collection of his work, photos, and correspondence (AC 402 and ACP 010 for the photo archive). Tomas Jaehn created it at the beginning of this century. He has moved on to become the Director,
Special Collections/CSWR University of New Mexico Libraries as well as becoming a great pal of LK. (photo © Louis Kraft 2004)

I’m prepared, always, but I refuse to read or use slides. I know what I’m going to talk about and I do work on it, but the only thing that I attempt to memorize are quotes.

Sometimes quotes walk out the door of my memory at the most inopportune moments. Paraphrasing usually saves the day, but not always. A number of years back I was talking about Errol Flynn’s performance as George Armstrong Custer in They Died with Their Boots On (Warner Bros., 1941) and comparing the fictional Custer with the real Custer. My favorite scene in the eight films that Flynn made with Olivia de Havilland was at the end of Boots. Olivia, as Elizabeth (Libbie) Custer, helps Flynn pack before he marches to his destiny at the Little Big Horn in Montana Territory on June 25, 1876. During the talk (in Hardin, Montana, in 2011) I used some of the dialogue between them in this scene and of course went blank when I got to my favorite line that Flynn’s Custer said to Olivia’s Libbie—”Walking through life with you, ma’am, has been a very graceful thing.” There’s one thing when you perform live, and that is you keep going. I did but in a different way, I asked the audience for the line and one of the fellows in the front row or near the front row knew it. Think it might have been Gary Leonard, an Indian wars historian from England, whom I met a year later when Custer and the Cheyenne won an award in Oklahoma City, and who has since become a good friend.

Back on focus

Due to the massive undertaking of the Sand Creek story (not to mention The Discovery, 2016, which I wrote to pay for an operation that I didn’t know about until after the fact—money I didn’t have), everything went on hold. As mentioned above, talks were no longer on my schedule. Ditto articles, plays, and believe it or not this year’s blogs (my last one was posted in May).

Talk about a disappearing act. …

LK and Pailin on the evening of 22nov2018 (Thanksgiving, my favorite holiday). We are in the dining room at Tujunga House but due to the glare of lights in widows and mirrors (yes, mirrors—that’s a mirror behind Pailin and not an entry to the dining room) what is behind us is not behind us. Make sense? No? I didn’t think so. … See, I’m not a total outcast; I have a social life with my small family. (photo © Louis Kraft & Pailin Subanna-Kraft 2018)

At times it is easy to create an outline or a proposal, but in the Sand Creek manuscript there was a massive problem and it wasn’t the research (but in my case the research doesn’t end until no more changes can be made, and this isn’t a joke). It was the massiveness of the players from all points of view. After mining the facts the question became how do I pull all their stories together seamlessly in a linear way and make it work with the larger picture of what was affecting their lives? This is a hell of a lot easier said than done, and certainly when the scope of the manuscript is huge. For those of you who don’t know I have done everything possible to be in the players point-of-view (POV, a film term) when dealing with them. The reason is simple, I want to show what they did and what they said for this will allow the reader to make their decisions about the Cheyennes and Arapahos, the whites who married into the tribes, their offspring, the whites who coveted Indian land, and those who spoke out against the massacre of people who thought that they were removed from the 1864 Cheyenne war in Colorado Territory.

I know, it’s a mouthful but an exploration that has become a big part of my life. Honestly, I’m one lucky cowboy to have it in my life.

Fire, fire, and more fire, … and which blog goes live

Fire has become the new normal in California and in other western states. Unfortunately it is not going away. The year 2017 was the worst fire year in California history, but 2018 surpassed it by late spring. By fall 2018 destroyed the 2017 figures.

This Los Angeles Times photo (12nov2018) isn’t as dramatic as the multitude of photos that pictured lines and lines of destroyed vehicles that did not escape from Paradise in the Camp fire, but it has massive importance. The San Fernando Valley (SFV) has a population of 1.75 million. If the Woolsey fire had continued east through Calabasas, Bell Canyon, and West Hills the number of destroyed vehicles would have been in the 10s of thousands. I know, this sounds like a ridiculous disaster movie plot, but someday it could become reality. This is the second year in a row when raging fires invaded the SFV. In 2017 fire struck the northeastern and eastern sides of the Valley (and both of those were within five miles of my house), and every effort was put in place to stop them.

Certainly the Woolsey fire in Los Angeles and Ventura Counties (November 2018) has affected me and many other people (and most of them much-much-much worse than me and for many of them their lives will never be as before). … So has my breathing clinic, my Sand Creek manuscript, and my film blog, which preempted this Sand Creek blog, only to get preempted in return (fair is fair). Even though the work on Sand Creek has been ongoing for what seems like a lifetime (read never-ending) things change. …

The Woolsey fire, its devastation, is an example of daily life in California.*

There is a mostly-unpublished fact that has recently come to light
(regarding Northern California). The Camp fire, which wiped
out the town of Paradise (November 2018) and quickly
became the worst and deadliest fire in the Golden
State’s history has a statistic that is frightening.
Between 2003 and 2018 this portion of
Northern California had permits to
build 24,000+ houses. During
this time fire has destroyed
20,000+ homes.

* See https://www.louiskraftwriter.com/2018/01/01/louis-kraft-socal-fires-earthquakes-sand-creek-massacre-an-errol-flynn-tidbit/ for details about the 2017 SoCal fires.

The nightmare is ongoing. A study just released pointed out that over 1.1 million buildings are at fire risk in California, according to the Los Angeles Times (“A million buildings facing fire risk stir cries for action,” 22dec2018; see the map at left and drag it onto your desktop to expand it), that is “roughly 1 in 10 buildings.” The largest number of these buildings are in Los Angeles County: 114,000, “including tens of thousands of Westside and San Fernando Valley houses in the Santa Monica, Santa Susana and San Gabriel mountains”. … The Times went on to state: “The findings follow a fire season of unprecedented destruction—more than 20,000 homes lost, more than 100 people killed—that showed what damage can be done if Californians fail to address a widespread risk.”

The real SoCal

California rainfall season is from October 1 until September 31. For the rainfall season ending on 31sept2018 for Los Angeles the rainfall was 4.74 inches.* … Regardless if SoCal has a lucky year of rainfall as we did between 1oct16 and 31sept17, which was about 18 inches (an anomaly), SoCal suffered through the worse year on record for fire destruction in California in 2017. …

* As of December 26 the rainfall for the season that began on October 1, 2018, is 4.26 inches (three months into the year and we have almost reached last season’s entire output). Fingers are crossed.

Even though the destruction during recent fire seasons has increased this century everyone thought that 2017 was an anomaly. It wasn’t. By late spring 2018 the fire season (which now almost feels like it is year round) surpassed 2017. That year two fires came within five miles of Tujunga House (one from the east and one from the north).* What do you take if you must run? Pailin and I know what documentation is mandatory, and we have more than most people for Pailin has gone through multiple processes to obtain permanent residency, obtain a Social Security number, driver’s license, and of major importance pass the required testing to obtain a certificate that she is one of the top massage therapists in California (it is illegal to work in the state if you don’t have this license and raids are ongoing).

* I would need a large U-haul to get my research to safety (not a comforting thought) or a year to digitize it (not going to happen), and this doesn’t include a lot of artifacts, posters, photos, and books).

As of 17nov2018 over 98,000 acres have burned in the Woolsey fire. … The Griffith Park fire started on the morning of 9nov2018 where Victory Boulevard crosses over the 134 freeway just east of I-5 at the southern entrance to the Los Angeles Zoo and the Autry Museum of the American West. The brush fire was totally extinguished by the next morning with only 30 burnt acres. Luckily there were no Santa Ana winds on the east side of the San Fernando Valley for the cities of Glendale (east and northern border) and Burbank (to the north and northeast) while the town of North Hollywood was northwest (about seven miles to Tujunga House), … all highly populated areas. (To view a larger rendition of the map drag it to your desktop and open it.)

On 7nov18 fires again struck SoCal with an intent to destroy and kill (a day after the Camp fire in Northern California destroyed most of the town of Paradise (population of approximately 26,000). …What has happened during the Camp fire in Butte County (where the town of Paradise once stood) has been an ongoing nightmare. As of 17nov2018 9,800 homes have been destroyed, the death count currently is 71 (this number is now over 100, but it includes some deaths in SoCal) with 1,001 people still missing (this figure has dropped, but they’ll never find all of the missing). I don’t know what you see outside of California but I see it all. The story of Sand Creek and the Cheyenne and Arapaho Indians is a tragedy; so is the story of the people who once lived in Paradise. Some died in their homes, others died in their cars as they attempted to flee, while even more died after deserting their cars in a last-gasp effort to survive.

This image of Llamas on a beach in Malibu, Calif., on 9nov18 (© Wally Skalij for the Los Angeles Times) is worth 10,000 words for it shows the horror that has become a yearly occurrence in California. The two llamas, Thunder and Luke (called alpacas in a later edition of the Times), and the horse, Gidget, are west of the Santa Monica Mountains and they are as far west as they can go for just beyond them is the Pacific Ocean. They symbolize not only the destruction of property but also the massive loss of animal life (wild and not). Luckily Thunder and Luke were evacuated to Ojai, a gorgeous valley/small city north of the city of Ventura (Ventura County), and Gidget to a stable in Glendale (a city in LA County; I-5 is its western border and the Ca. 134 freeway cuts through it as it begins to climb the mountain on its way to Pasadena).

My time is short, and the fires in California have again become the fires from hell. I don’t have time to keep writing about this ongoing disaster, so perhaps this social media post will give you some indication of the immensity of the threat: Woolsey fire as related to Los Angeles county on 12nov18. The fire that has ravaged Ventura and Los Angeles Counties was contained around November 19. Some 300,000 people were evacuated in California since these fires broke out in early November; 177,000 lived in Los Angeles County. It could have been worse—much worse—if the Woolsey fire had completed its invasion of the San Fernando Valley, it had the possibility of forcing an additional 1.75 million evacuations.* So what’s the big deal? This example should give you an idea. One of my physician’s office is on Ventura Blvd. in Encino. It is a 10 mile drive. To arrive at a nine o’clock appointment on time I need to be on the road by seven-twenty.

* If the SFV was a city it would be the fifth largest in the USA (only NYC, LA, Chicago, and Houston would be larger).

When the Santa Ana winds strike their speeds can quickly grow from 40 mph to 60 to 75 and more. The firefighters, some of whom at times worked 36 hours straight, had to deal with not only the power of the Santa Anas but also the sudden change of direction.

Many people lost everything but their lives. Everything. Already many know that they can’t rebuild for what they had originally paid for their homes is peanuts in today’s market and unfortunately many could not keep increasing their fire insurance.

My house before moving to Tujunga House was in Thousand Oaks. A very safe and gorgeous city in Ventura County (just north of LA County). It was on a hill, had a courtyard, swimming pool (swimming is my favorite individual exercise; I’ve been a fish since elementary school), and a half-block walk into the Santa Monica Mountains. The house survived as the fire was farther south.

An LK reality

Art of LK and his pistol-packing lady that I began several years after I began pitching the idea of bringing Johnny’s novel to the stage (see the paragraph to the left of this image). I’m a chameleon but this is an image that reappears in my life time and again. … Pailin? She is my lady for all time, and as such she is with me in all my incarcerations. She backs me at all times no matter deep I immerse myself in my projects, no matter how far I drop out of society. She is with me and I am with her. (art © Louis Kraft 2015-2018)

My life is what it is, and it has been this for way for a long time. My world is simple: Protecting three women, surviving, and living to see my Sand Creek manuscript published. This doesn’t sound like much but for me it’s a big deal.

The LK reality is the book projects and the people in my life. Relax for this blog will focus on Sand Creek and the Tragic End of a Lifeway past, present, and future. Long time comin’. … But first I need to get a little personal with the recent past, present, and future. Not that long back I had pitched two friends on me writing a play based on East of the Border, a novel by Johnny D. Boggs, wherein James Butler (Wild Bill) Hickok tours the theatre circuit in the East with Buffalo Bill Cody and Texas Jack Omohundro. Wild Bill feels awkward treading the theatrical boards, is bored, hates what he is doing, and is often drunk. He discovers that when he fires his revolver too close to extras playing dead Indians that they leap to life when the blank firing burns them. He loves this. Type casting for LK? Probably. I’ve wanted to play Wild Bill since the first time I read Johnny’s novel.

LK, a former friend, and John Goodwin at a Galaxy Press event in Hollywood, Calif., in June 2010. I designed two of the hats (center and left), the buckskin coat, and moccasins years back.

This desire goes back years, and as I’ve said in previous blogs Lisa Smith, Johnny’s wife, said it would make a great play. Still Johnny had been silent (probably because he didn’t want me to adapt his book for the stage). The other key person in this triangle was Tom Eubanks. He had directed all of the Ned Wynkoop one-man shows in Kansas, California, Colorado, and Oklahoma. He, also, wasn’t interested. Eventually I gave up on what I thought would make a good play, and better a great character for LK to play. They probably thought I’d embarrass myself. … I never get embarrassed, and certainly not when I’m wearing a wide-brimmed hat, buckskins, moccasins, and packing an 1860 Colt. Are you kidding?

See https://www.louiskraftwriter.com/2016/09/17/the-tom-eubanks-louis-kraft-ned-wynkoop-errol-flynn-connection/ for images of the Wynkoop one-man shows and Cheyenne Blood, plus more on Tom Eubanks.

I believe in reaching for the stars, … and if I get lucky and my wish/prayers become reality to reach for another impossible dream—that is many more years with my ladies and perhaps yet another book, and another, and another, … and another. Yep! I’m a greedy ol’ dog.

Since the end of May it has been an ongoing string of Sand Creek edits, dealing with the peer reviews, adding new information, checking and double checking citations, searching for key information that I need in the manuscript, reaching out for help with other experts on my subject (which, believe it or not I’ve been living with since the 1980s). This is always a good time for it is totally creative. It’s also a scramble as the manuscript must now come together and flow smoothly between people and events as the story races toward conclusion.

My great friend George Carmichael took this image while we enjoyed the Pacific Ocean in northern San Diego County in March 2001. I met George at a fiction class at UCLA in 1990. We were both writing western novels: His was traditional, mine was modern day on the Navajo Reservation. We didn’t see eye-to-eye, but somehow became great friends until the end of his life on 2apr2014. He was an engineer turned published fictional short story writer while I focused on becoming a novelist. Although I have two published novels I’m proud of (The Final Showdown, 1992, and The Discovery, w/Robert S. Goodman, 2016), I reached an intersection in the road, yanked the wheel to the left, and became a writer of nonfiction. (photo © Louis Kraft 2001)

Sound like fiction? Maybe. Sound like a film plot? Perhaps. … For LK it is nonfiction with many intricate pieces that must merge in a linear fashion and not jerk all over the place. … Been there and done that. But that doesn’t count for the scope of this manuscript is massive and I must connect all the players and events in a manner that makes the reader turn pages.

That’s right—turn pages. I believe that nonfiction is just like fiction, plays, film, articles, talks, and blogs. It must grab the reader’s (or viewer’s) interest at the beginning and hold it until the end. Will I succeed at this? You’ll have to read Sand Creek and the Tragic End of a Lifeway to learn the answer.

Ladies and gents, the question of the Sand Creek manuscript being published in my lifetime is now passé. I’m one tired and skinny cowboy but I get up between four and five with a big grin on my face almost seven days each week.

A big grin, for my tablespoon of organic apple cider vinegar in a glass of water and then a cup or three of coffee begins my days of exploration and confirmation and word-crafting and polishing. … This is a golden time for LK and it gets better as the days pass, for this is just the beginning. See below.

The reality of this time

I don’t want to say that it was bad. At the same time I don’t want to say that it was good.

As I floated for months in a no-man’s zone that hovered between success and failure I was totally alive as each day merged into the next and the next and the next. One edit became the next edit and then the next, with each a challenge all its own. I’m social, very social, and get along with all people (two exceptions being racists and sexual predators that hit on me and other people; perhaps I should add habitual liars to the list). I’m also a loner. Although I want a special person in my life at all times I can thrive in a solitary environment. … Although I have many people that are a major part of my literary/creative world (these people are my best friends), and I spend a lot of time with them via the phone, email, social media, as well as in person whenever I get lucky. When it gets down to the writing it is me, my computer, pens, and paper. Zero days pass without work, and this drives me to the next day and the one after. I live and breathe my work.

This is my lady praying at Tujunga House on 9sept2018. We have two different upbringings, two different cultures, two different languages, and two different religions. When we met we took our time and slowly got to know each other, to respect each other, to trust each other, to explore each other’s lives, and to love each other. (photo © Pailin Subanna-Kraft & Louis Kraft, 2018)

I am with my lady 100 percent of the time day in and day out no matter what our work schedules are. One hundred percent of the time. If someone badmouths her or hints that I should cheat because they have an open relationship I don’t run to the bathroom and vomit. Still you do not want to
hear my opinion of these slimballs for it isn’t printable in this blog or elsewhere. AND I don’t talk about them with friends either. For me
people like this aren’t worthy of mentioning. They are dirt, they mean nothing, and I remove them from my life.

Add racism to the formula, and I can say one thing and it is important—I grew up in a racially-tolerant family at a time when racism was rampant in the USA. Over the years all of us have seen a massive amount of progress to alleviate this hateful and harmful blot on the world. Unfortunately something evil took center stage in 2015 and people embraced a man who has no respect for humankind or women or the truth. This opened a door and racists crashed through it. It is the here and now, but like all evil that has thrown a dark shadow over the world in the past it will be pushed to the side and a humanitarian light will once again shine.

LK (right), Linda Kraft (left, d. 2006), and our mother Doris (center, d. 1980) in 1955 at the Van Nuys trailer park, our first permanent home in Los Angeles after parking the trailer in rural backyards for a long period of time. The car was a 1950 Hudson Commodore and it pulled the 35-foot trailer in the background to California. My dad owned the car from when he bought it in 1950 until 1998, a year before his death (and I had many happy memories driving it). (photo © Louis Kraft 1955)

My first best friend was a Latino (in a time when the word wasn’t used). I was seven and he was five or six. I was Walt Disney’s Davy Crockett and he was my sidekick (actually, he was also Davy Crockett for we were equals, even at that age and time) as we climbed the man-made mountain on the west side of the trailer park where we lived in Van Nuys, California, in 1955. We climbed it and slid down into the wonder of the Los Angeles River that flowed on the other side of what would become the infamous Ca. 405 freeway. We were explorers as we followed the flow of the river on the sandbanks below the trees that lined the water flow. It was a mystical time. Others—not many—also skirted the river; some adults and others younger. Not once were Jesse and I ever threatened. Try to do this in our 2018 world and Jesse Carrera and I would have become easy targets.

A Little about how I write and the Sand Creek peer reviews

Although I write my books from proposals and outlines there are no preconceived directions, and it doesn’t matter what the writing medium is, for I go where the research and the words lead me.

For the record I over-write everything and I don’t care what my subject or genre is. The reason is simple: The more facts, anecdotes, quotes, events, people’s actions the better for when it is time to cut, edit, add, polish, and bring the words together the better chance I have of creating the manuscript that I envision. … At same time I’m totally aware of the contracted word count.

Pailin on the bluffs to the west of the Sand Creek village at the Sand Creek Massacre National Historic Site (NHS) on 3oct2014. Our wonderful friends John and Linda Monnett, whom we had been staying with, drove us there that day. This is one of my favorite images of Pailin, as she is an explorer and as at home in the field as I am. She’s also like me in that she is a little goofball. (photo © Louis Kraft & Pailin Subanna-Kraft, 2014)

I had begun editing the manuscript in June 2018 in the hope to deliver a polished manuscript by 15sept2018—an impossible deadline, and especially so when I received the two peer reviews in early August. As expected they were professional, well done, and with a lot of good comments and questions. As it turned out neither said a word about the huge word count and both highly recommended publication.

One of the reviewers had the following to say about the Sand Creek and the Tragic End of a Lifeway manuscript: “Kraft … purposefully devotes nearly two-thirds of his manuscript to that time before conflict [meaning before the Sand Creek Massacre]. That portion of the work is delightfully original and a marvelous setup to the final third of the book, when for the Southern Cheyennes their world changed forever.”

LK with Scott Gillette, chief of interpretation at the Sand Creek Massacre NHS administration building in Eads, Colo., on 3oct2014. Scott has always been open and friendly to me, and he has time and again aided my research. Thank you, Scott. … Oh yeah, they sell Ned Wynkoop and the Lonely Road from Sand Creek. (photo © Pailin Subanna-Kraft & Louis Kraft, 2014)

He went on to say, “Kraft has a fine way with words. … There are any number of Sand Creek histories, some good, some atrocious. Kraft’s point is not to refight the episode but to use it as a defining moment in the telling of a multi-generational history of the Southern Cheyennes, from their earliest appearances through Sand Creek and slightly beyond to the coming of the reservation era. No other Sand Creek history contextualizes this story as he does. Equally if not more important, this reader is unaware of any comparably detailed history of the Southern Cheyennes told within the same broad timeframe that Kraft embraces. That alone makes this work a gem.” Finally this reviewer said something that blew me away: “Kraft knows this story and its primary and secondary sources intimately. He utilizes his sources soundly, challenges in his notes various source shortcomings, contradictions, and nuances; notes where sources have been misused by others; and in all fashions a story destined to be deemed, I believe, definitive on the subject.”

Whew! …

Heady words, kind words, and I didn’t expect them. I hope that they prove out to be true. Time will tell.

I had miles to walk and thousands upon thousands of words to cut while fine-tuning the story line and polishing.

A return to the Woolsey fire destruction

Some of the following words and views were pulled from recent LK postings on
other social media (actually those posts were created for this blog).

I can’t walk away from the Woolsey fire and its destruction of film history. Robert Florczak, my friend and also an Errol Flynn historian, in July 2016, took me to Lasky Mesa, a massive mountainous and valley area (in the Upper Las Virgenes Canyon Open Space Preserve), an easy 35 minute drive from my house on Victory Boulevard). I met Robert at his apartment on that day, and he drove. After parking in the lot where Victory Boulevard dead-ends at to the eastern entry to the Open Space Preserve you have perhaps a two-mile hike around and over hills as you work your way to an open area surrounded by hills and in the distance mountains—Lasky Mesa. Dirt roads and paths meander through the area and down into small canyons. That July there was a lot of dried grass up to my knees.

On 13jul2016 LK stood where Errol Flynn’s Seventh Cavalry rode to their death in They Died with Their Boots On (Warner Bros., 1941). (photo © Louis Kraft 2016) … For the record three of the eight Flynn-de Havilland films were westerns, and all had back stories that will be dealt with in detail in Errol & Olivia.

This mostly-ignored hilly area has been seen in many major films from the Golden Age of Cinema. This includes Errol Flynn’s glorious death as George Armstrong Custer (They Died with Their Boots On) that was shot in fall 1941. That day Robert was working on confirming the tree near where Errol Flynn and Alan Hale sat upon their horses as the coach with Flynn’s then wife Nora Eddington approached at the end of Adventures of Don Juan (Warner Bros., 1948), … as well as the tree from a famous scene from Gone with the Wind (Selznick International Pictures/MGM, 1939). I have this film on DVD but have not seen it in decades (and never in one complete screening) as the film bores me. However, for Errol & Olivia (and sooner than I now expect) it will become a film that I study in detail while I decide what I’ll say about Olivia de Havilland’s performance.

LK & RF on Lasky Mesa on 9jul2016. Before capturing the image that Robert suggested that we pose for, … as if we were going crazy in John Huston’s 1948 Warner Bros. classic film, The Treasure of the Sierra Madre. I had never seen it but had seen photos of Humphrey Bogart, Walter Huston, among others, and have read about it; I need to see it. (photo Robert Florczak and © Robert Florczak & Louis Kraft 2016)

RF and LK were in trouble by the time we finished our research on Lasky Mesa. Between us we had a lot of water but the heat soared to 105-106 degrees (as we knew it would). By about three in the afternoon we headed back to the parking lot where Robert’s SUV was parked. One problem. We had a long walk in front of us. Would we make it was not only on our minds but something we discussed, including if one of us dropped the other would drag him to safety. As you can see in the photo we had been walking down but would soon turn to the left and begin to climb a hill only to continue to meander to the right and left as we descended, climbed, and worked our way back to his vehicle. At the time of the image we had stopped to catch our breath and Robert proposed this portrait of us. After we looked at it we agreed that it would never see the light of day.

Oops!

Recently I received this image on social media. I guess all bets are off. … For the record this is what historians really look like when they are in the field.

Lasky Mesa is north (or east) of the Ca. 101 freeway as it slices northwest and skirts the Pacific Ocean. Soon after one can exit the 101 and drive west on Kanan Dume Road toward the Santa Monica Mountains until it reaches the Pacific Ocean. To the north of the road as it begins to enter the mountains is/was the Paramount Ranch (a back lot for a major film studio in Los Angeles during days gone by).

Fire devastation beyond human tragedy

But by no means has this been only humankind’s loss. The devastation has been beyond belief throughout California over the last few years, and not just to the families that have lost everything (many of whom won’t be able to rebuild as the cost has become prohibitive), but also for the loss of the trees and grasses and plants that are native to Southern California (actually all of California). And I cannot forget the wild life, many of whom have been forced to share their land with invading humans. I’m certain that this has not been an easy adaptation for them.

Lizards

I have pet lizards. I call them pets as I talk to them and often they listen, but they aren’t pets. I walk carefully when they are present as I don’t want to frighten them for they are wild. … I don’t know their view of me, but I consider them friends.

I took this photo of Tujunga House at 4:41 am on 6feb2018. It is a photo, not art, and it is full frame. There was an early morning fog and I took advantage of it and captured some great images. The foreground light was provided by a telephone pole that is just south of the driveway. The front yard is a good portion of the lizards’ homeland, and it is a wonder to watch them enjoy their environment. (photo © Louis Kraft 2018)

I don’t feed the lizards, but Pailin and I have created a home for them on the north side of the driveway with two pieces of granite near a huge bougainvillea in a plantable area that I cleared except for one white rosebush. The lizards discovered that the granite provided shelter from the elements and they have made the area their home. Tujunga House is surrounded by mostly desert vegetation. I don’t water often, but when I do it is for my lemon trees, bamboo, and roses (Pailin makes rose tea). Every so often I’ll water a plant that needs it, only to give one of the lizards a shower. It darts away, stops, turns and stares at me, almost as if saying, “What the hell are you doing?” … They know that we keep two monsters (a Vette and an M-B), and when they come to life and growl the lizards get off the driveway to where they will be safe and watch until the beasts come to a halt or leave their land. …

How many lizards died in the Woolsey fire? I could never venture a guess, but I know that it was way-too-many.

P-64

Here I’m also talking about an animal that is my favorite as it is so sleek and graceful (more so than wolves or horses or coyotes or doberman pinchers, my other favorite animals). They are sometimes called panthers, but much-more often pumas. They are mountain lions that live in Los Angeles (city and county). When caught, and they are never harmed, they receive a GPS collar, tagged, and given a name designated with a “P-” and a number. They are then returned to their habitat, tracked, observed, but never fed or pampered. If sick, and cameras are set up in areas they frequent, and their condition is captured, they are medically treated and returned to their homeland that ranges through the Santa Monica Mountains that separate downtown Los Angeles, the Westside, and the beaches from the San Fernando Valley (SFV) and the Ca. 101 freeway that connects downtown Los Angeles with the SFV (population of 1.75 million) to Agoura Hills, Malibu, Westlake, Thousand Oaks, Oxnard, Ventura, and onward to Santa Barbara and beyond.

Above is P-64 in the photo (courtesy: National Park Service). He was captured in February 2018 in the Simi Hills, Ventura County (northwest of LA County) and fitted with his collar and tag in his ear. This image shows him exiting a blind culvert that is in total darkness as it zigzags under the Ca. 101 freeway. The day after he was set free he became the second puma to be captured on film crossing the 101 freeway (I don’t believe that it was this image). Since that time he crossed not only the 101 but also the Ca. 118 freeway that slices through the northern portion of the SFV and into Simi Valley. It is not known how many times he crossed these freeways risking death by dodging speeding autos during night hours (unfortunately numerous mountain lions have lost their lives doing this), but he was tracked doing it forty-one times since he received his collar.

P-64 was a pathfinder and adventurer in that he expanded his habitat while trapped inside civilization. This was how it always was for him; the only life he ever knew. Then fire, fire, and more fire that increased time and again over recent years. But this time it wasn’t beyond the next hill—it was all around him. On November 26, and again on the twenty-eighth his GPS tracked him. But Jeff Sikich, a wildlife biologist who tracked the four-year old, said he was caught between the avalanche of blaring sirens, an army of firefighters, and frantic humans, and moved back into the burnt area near Oak Park and the Simi Hills in Ventura County. Glen Williams and I discussed P-64 in detail on December 10 and decided he was terrified and chose the best of his two options.

I believe that this is Jeff Sikich displaying two of P-64’s paws. Sikich located him near a streambed on December 3, 2018, about two or three days after he died. He wasn’t burned by flames but was forced to cross hot embers. The burns were severe, which would have hindered his hunting. It has been surmised that the burns might have led to infection. (photo courtesy: National Park Service)

The pumas have adapted to the massive encroachment upon their homeland. They cross freeways and range north and east and west of the San Fernando Valley. Some are in the San Gabriel Mountains that are on the northern side of the San Gabriel Valley (the next valley to the east of the SFV, where I wrote for software companies for 12 years). Mountain lions are predators and they do live off the land. Thus one must be careful when in their territory.

Our mountain lions are famous and often the Los Angeles Times prints articles of births, status, activity, and accomplishments of those we have come to know (and in my case, and friend Julie McHam) care about. Unfortunately the Times also shares their end of life.

Another piece of Hollywood lost to flames

This is one of the photos that Glen Williams shot at the Paramount Ranch on 25may2012. (photo © Louis Kraft & Glen Williams 2012)

To the north of Kanan Dume Road as it moves west from the Ca. 101 freeway and toward the Santa Monica Mountains is/was the Paramount Ranch (Paramount Pictures was a major film studio in Hollywood during the glory days long gone; so many mergers and purchases have happened I don’t know who owns it now). I worked at the studio in the ’70s and early ’80s; Nice place to work. My bro Glen Williams and I did a photo shoot at the western town on the Paramount Ranch (just building fronts for all interiors would be shot on sound stages) in May 2012. A good day for LK. In the dark ages I earned money as a model. Hated it! But the money paid bills. This modeling with Glen (as was other great excursions with him) was for companionship, as well as photos that might be used for publicity or for artwork. … Sadly the Paramount Ranch no longer exists. It had provided locations for films and now it is a piece of California history.* Just thinking about this brings tears to my eyes.

* Friend Dennis Clark saw in his local newspaper that the western town would be rebuilt within the next 24 months. My fingers are crossed that the article he read is accurate. If yes, Glen, ol’ bro, we need to do a Paramount Ranch photo shoot 2. If yes, I want our ladies to join us and make it a foursome.

Wynkoop and the Sand Creek manuscript

Errol Flynn’s portrayal of George Armstrong Custer (They Died with Their Boots On, Warner Bros., 1941) brought me to Custer, a lot of articles, talks, and Custer and the Cheyenne: George Armstrong Custer’s Winter Campaign on the Southern Plains (see Custer and the Cheyenne wins the Jay D. Smith award for its contribution to the study of Custeriana), Upton and Sons, Publishers, 1995).

LK with Chuck Rankin at the Western History Association convention in Oakland, Calif., on 15oct211. Ned Wynkoop and the Lonely Road from Sand Creek premiered at this event. The poster in the background is now displayed at Tujunga House. (photo © Louis Kraft and Chuck Rankin, 2011)

Mr. Custer brought me to the Cheyennes and a fellow named Ned Wynkoop. When I started writing and talking about Wynkoop in the 1980s (and he had a lot to do with Colorado Territory history in the 1860s) I never dreamed that he would lead me to a major player in my writing life that I didn’t meet until the beginning of this century—Charles (Chuck) Rankin, the former editor-in-Chief of University of Oklahoma Press (OU Press). Chuck played a big part in the development of Lt. Charles Gatewood & His Apache Wars Memoir (University of Nebraska Press, 2005). We spent many years talking about Wynkoop as we developed a proposal that would work for both of us. When we got together in Oklahoma City in 2006 he said to me that the beginning of a manuscript draft I sent him was a little light in content. “… And I’m 15,000 words over my contracted limit,” I replied. “Why don’t we spilt the manuscript into two books?” “Let’s think about this,” he said. During the next month or two he agreed to increase the manuscript from the contracted 90,000 words to 125,000 words.

Shortly before Ned Wynkoop and the Lonely Road from Sand Creek (OU Press, 2011) went into production Chuck asked me if I’d like to write a book about the Sand Creek Massacre. I told him, “No. I write about people and not war.” Chuck refused to walk away and over the next year or so we talked in person, on the phone, and via email. We worked on a proposal that was suitable to both of us. The contracted word count was 125,000-135,000, and I needed the higher number (and more) as the scope was huge to show and not tell what happened.

That was then … this is now

In April of this year I was informed that for the Sand Creek manuscript to be published in 2019 I needed to submit a completed draft for peer review, deal with the peer reviews, and deliver a polished manuscript no later than 15sept2018. As I didn’t have a completed rough first draft … on May 31 I delivered an incomplete but huge draft for review. I don’t gamble with cards or money but I do gamble with my projects. This was a big-time LK gamble for one and certainly two thumbs-down reviews would end my relationship with OU Press.

LK image shot by Pailin on 4aug2018 by request of the OU Press Publicity Department. There were exteriors with a hat and interiors w/o a hat. This photo I like (as I’m happy) but it is slightly out of focus (photo © Louis Kraft & Pailin Subanna-Kraft 2018)

It was an impossible task, and one I knew would never happen. … Still I dug in and pressed forward. In early August I received the two peer reviews. Both were positive and provided first-class comments (which required additional words), and more important neither mentioned that my incomplete manuscript was huge or that I should trim the word count (which was then 204,000+).

Hey Kraft, this mess is your creation.

I know. … and as I said above the more words, events, and character development I have the better it is to cut, add, edit, rewrite, and polish. In other words I am now in LK heaven (or perhaps LK hell). My days and nights merged—became one. Sleep was a delicacy that I no longer had. Days passed and September 15 loomed. Delivering a polished manuscript that was close to the required contracted word limit vanished. Current OU Press Editor-in-Chief Adam Kane upped the word count to 150,000. This was impossible and I told him I needed 160,000 words or more.

On September 14 I emailed Adam and told him that I would not make the 15th deadline (meaning there would be no publication of the book in 2019). A big loss as I don’t want to be like Errol Flynn and have my last book published after my death, a scenario that walks with me more often than desired. Back to the positive, missing that deadline was a godsend.

September 15 came and went, and I pounded the keyboard. A hundred words gone, a thousand words gone, five thousand words gone, and more and more. As I knew it would, the manuscript tightened and flowed.

An example of a long-gone Laser Disc cover of The Time Machine (MGM, 1960) signed by Rod Taylor and supporting player Alan Young. The film  was extraordinary in 1960 but it hasn’t survived time well, mainly because special effects have seen lightyears of improvement since the ’60s. Taylor’s performance was decent, but this film is not close to being in my upcoming top 50 LK films blog (tentatively scheduled for late March 2019), which will also feature Valley CORF (Tarzana, Calif.), a breathing, balance, and strength clinic that has done wonders for LK. … There is a good chance that Taylor will have three films on the list.

It was almost as if I was Rod Taylor in his star-making film The Time Machine (MGM, 1960) as I sat in front of my computer for the days flashed forward at lightening speed and words changed, sometimes to grow while often many disappeared in an ongoing merge of days, weeks, months.

This was my now while it was also my then. A vast desert of sweltering heat that I’ve walked time and again. Familiarity beckons confidence. Been there! Done that! … and I know the outcome. We’re talking about my freelance writing, but we’re also talking about my twenty-plus years writing for the software world. ZOOOOOMMMMMM!!!! I’m Rod Taylor riding his time machine … NO! I’m LK sitting tall in my chair as my fingers dance over the keyboard and my monitor flashes the changes in real time. I’m alive in my world. …

My world! …

Two hundred four thousand plus words fade into history for it has become 197,000, 191,000, 185,000, 179,000, 173,000, 168,000, 165,000 … and counting.

Today’s Sand Creek and the Tragic End of a Lifeway

The “was” brought me into the “now.” On 15nov18 I delivered my “last” rough Sand Creek draft to Adam Kane. Actually by an email mistake, but that didn’t matter as I had anticipated making the delivery on November 16, which would have been the same draft minus a few files that were meant LK’s eyes only.

I will deliver the maps to cartographer Bill Nelson and Adam on January 7, 2019, and my polished Sand Creek draft to Adam on the fourteenth.

I have been collecting possible events and locations for the maps as I have worked my way through my manuscript polish. At the moment there are a fair amount of choices but most will be eliminated as space is limited. I don’t want to tell you what the selections are but those chosen will be based upon what I consider primary locations and actions during the flow of the text.

As stated elsewhere in this blog I do everything possible to show and not tell in my books. I can’t begin to tell you how important this is—at least to me. When Chuck and I created the 37-page proposal for the Sand Creek manuscript “show and don’t tell” was forever front and center. This takes more words but the extra words are worth their weight in gold a thousand times over when the book is published. This is as it should always be. Words are mandatory but it is the showing that must grab the readers and never let go. If done correctly the reader will turn pages, and more than they anticipate. From my POV this is how all books should be written. … Honestly, any book that puts you or me to sleep after two or three pages is a piece of crap and I don’t give a bleep about its reviews or awards or how many books have sold. In some cases all are valid and well earned. However, sometimes they are not. If you live in LA you would know that we suffer through a film/TV awards season that begins in the early fall and doesn’t end until the last Oscar is presented the following year (next year’s presentation is on 24feb2019). The amount of money spent stuffing “created” contenders down our throats on a daily basis is obscene. You don’t want to hear my views on this for they aren’t printable. It’s a part of the world, … just not my part. Pardon my English, but ass-licking or paying big bucks to win an award is something I refuse to do.

Maps

Until the Ned Wynkoop and the Lonely Road from Sand Creek I had created the maps for my previous books. Believe it or not over the years I improved my skill at creating them.

This map from Lt. Charles Gatewood & His Apache Wars Memoir (University of Nebraska Press, 2005) was reprinted in Lt. Col. Paul Fardink’s (USA-Ret.) article, “Lieutenant Charles B. Gatewood: Premier Cavalry Soldier of the American West,” in On Point: The Journal of Army History, winter 2014. Paul had interviewed me for the article and had wanted it at the end of his prose. The editor disagreed and moved it into the flow of the text and it worked out fine for Paul and myself. Paul’s article is terrific and I’m proud to be part of it. (map © Louis Kraft 2004)

Two of my maps have been reprinted. The Custer and the Cheyenne (1995) map that illustrated Custer’s attack on Black Kettle’s village on 27nov1868 appeared in Sandy Barnard’s A Hoosier Quaker Goes to War: The Life & Death of Major Joel H. Elliott, 7th Cavalry, 2010). The lone map from Lt. Charles Gatewood & His Apace Wars Memoir (University of Nebraska Press, 2005) illustrated Gatewood’s search for Chiricahua Apaches Geronimo (war leader and mystic) and Naiche (the last hereditary chief of the tribe) and the remnants of their people in Sonora, Mexico, in July-August 1886, and then talked them into returning to the United States and surrendering for the last time.

Chuck Rankin wanted me to use a cartographer for the Wynkoop book and this request began my association with Bill Nelson, whom I hired to create the maps from my rough drafts. The entire creation and review process was a total pleasure, and his maps are first class.

Adam had requested rough drafts of the Sand Creek maps, and all was a go with me supplying them to him and Bill Nelson (who I again contracted) by the end of December, which I have since moved out to January 7, 2019. … On 10dec2018 Adam told me, “We are fans of Bill’s work here so look forward to seeing the new ones for this latest book.”

I’m not going to tell you how I’m prepping the new maps, or what’s going to be in them but if all goes well they will include some locations/actions usually not seen on maps.

This was the rough draft that I submitted to Wild West for my feature on the Chiricahua Apache war leader Geronimo (“Geronimo’s Gunfighter Attitude,” October 2015). Not to brag but some of the locations had never before been placed on a map. A lot of work, and although the magazine’s cartographer created the final map from my draft Editor Greg Lalire and WW, both of whom have always been kind to me, paid me for this draft. (map © Louis Kraft 2015)

I have been selecting possible locations and actions for the map drafts as I work my way through what will be my polished draft of the Sand Creek manuscript. I had pitched a third map to deal with the Sand Creek village at the time of the massacre. All of the printed maps that deal with the massacre are incomplete at best and misleading at worse. I’m not going to reprint any of them or create a new map based upon them. There is current information that I am not privy to, and if I cannot learn the details that are available but not shared there will be no Sand Creek village map in Sand Creek and the Tragic End of a Lifeway. … Not my choice, but I’m not going to print a map based information that I don’t consider valid. If this becomes reality—and I pray not—there will be no third map unless I have a replacement map that I’m not yet completely sold on (but on the plus side it might dip into Old Mexico).

How can this be Louis? Simple; about 8,000 words deal with the massacre, making it a small piece of my Sand Creek story. Not to worry for the SC massacre section is explosive and graphic. The goal here has always been to grab the readers and not let go (we’ll see if I succeeded when the book is published). Still, I want a map with the most up-to-date information about the Sand Creek village circles if indeed they are known, and I don’t think that they are. If so, they are a well-hidden secret. For the record I know the names of 15 Cheyenne chiefs who were present on that tragic day. I have been told that there were 20 Cheyenne chiefs present with no names or documentary proof that I’ve seen. I would love to have this information and the order of the chiefs’ village circles (if it exists).

Photo at right shows Southern Cheyenne Chief Harvey Pratt (left) on 30mar2017 near El Reno, Oklahoma, when he was honored by the Cheyenne and Arapaho tribes for his service to the tribal community. He is with his friend Dee Cordry, an historian and former police officer, on the day of the ceremony. Eleven chiefs of the Cheyenne Tribal Council of Forty-four were present, as were the tribal governor and lieutenant governor. (Good friend Dee Cordry shared this image with me.)

Major information that is currently denied LK that must be in the Sand Creek book

I have information from Dee Cordry, who is writing a book that deals with a lot of people I deal with in my manuscript. I’m sorry, but I must remain vague here to protect Dee’s manuscript as well my mine, but what he shared is absolutely mandatory to see print, and Adam Kane totally agrees.Phot

This information when published by Dee and myself will destroy ongoing errors that have been propagated for decades and often reprinted without citations or ones that are error-riddled at best or created simply to disguise what doesn’t exist/never existed or worse create a lie based upon a writer’s premise (which some writers refuse to change regardless of where their research leads).

An example of lies in the real world

Many years back, but soon after Custer and the Cheyenne was published, a preeminent Little Bighorn/Custer historian called me and said he was writing a review of my Custer/Cheyenne book. He read about a quarter of his review (which, when published was over a page and a half in an 8″ x 11″ publication). Great stuff and I loved his words. He got me to talk about the young Cheyenne woman Mo-nahs-e-tah (phonetic spelling of her name); a major mistake by LK, and for all of you who write books when someone calls and states that he/she is writing a review about your work think carefully about who they are and what their motivation is for calling you. If there is just hint of a scam slam your phone down on the receiver. Do it! If you don’t you may regret what follows. … I did.

A year or so later this historian/cum-reviewer and I both spoke at a symposium in SoCal. I called the host and told him that if the historian attacked me verbally that I would retaliate. The historian kept his mouth shut and we actually enjoyed spending time together and talking.

This photo was taken on Christmas day, 2018. Do I look “snarky”? Perhaps, … or maybe I’m simply “cocky.” (photo © Louis Kraft 2018)

Two things that need to be said

Ladies and gents, I want to make something absolutely clear right now—people and archives play major roles in all of my published work. I am forever grateful for their contributions.

I have pointed out errors in books published over the last 50 years. Some of them are heinous but have been reprinted time and again (and often without any documentation). One of my peer reviewers tore into me big time for pointing out published errors; he even stated that I was “snarky.” Snarky? Maybe he’s correct. I don’t care for I’m sick and tired of seeing old errors repeated ad nauseam. This reviewer rightfully stated that I needed to temper my comments (hopefully I’ve been able to follow his suggestion). At this point in time much of my proof of erroneous documentation has been purged from the manuscript. In its place I have inserted notes that mention the errors without pointing the finger at published works, and simply warning readers to be wary of documents that use the previously published errors.* Hopefully historians and readers who read these words heed them.

* Of course a few instances existed where this was impossible to do. I guess I’m still “snarky.” Sorry.

LK writing and life in his world

I don’t view myself as a liar, for sometimes I need a break from almost continuous seven-day weeks for what seems like forever. The blogs are fun for me, while being time intensive. More important they are research for my nonfiction or that memoir I usually ignore when I talk about my writing projects. If ever I finish the memoir, and it is doable as I have a ton of research in house, I will never see it published. Errol Flynn never saw his final book published (My Wicked, Wicked Ways, Putnam and Sons, 1959), and no one was able to sue him for telling what I believe were truthful words about some of the people he knew well. … Let’s carry the LK memoir one step forward. It is completed and placed with a publisher. At that time I will make certain that we are in sync when it can be published, and that time will be right after I’m dancing with angels. Am I joking or am I serious? Be patient for time will give you an answer.

Throughout our early life together I moved Pailin’s car out of our long driveway so that I could use my car; that is moving her car onto the street, moving my car onto the street, moving her car back onto the driveway, and then walking to my car on the street. She suggested parking her car under a carport that we didn’t use as it had been blocked by a fence I installed about 2009 and a huge orange tree that had died about 2013. A great idea! In December 2015 I removed the steel fence, chopped down the tree, removed its root system, filled in the hole, pounded the earth, before the Vette pressed down the earth. This photo was taken in the late afternoon on December 9 after quitting work. (photo © Louis Kraft 2015)

On 24jun2018 my life took another detour. That Sunday the sole of one of my yard-work moccasins came loose and caught on the small red stones I installed in 2015 for the drive to Pailin’s carport (the Vette lives in the garage), and I took a flying dive forward. There was a pole in front of me—I had to protect the pacemaker—and twisted to my left to avoid a head-on collision or worse, nailing the pacemaker. While knowing that the impact wouldn’t be pretty I had to make a perfect landing. Acting and swashbuckling training provided what I needed to know—that is, how to fall. Still, my flying body was like a biplane crash-landing during WWI. Add deep-deep gashes, huge bruises, and burns along the left side of my body. But it was a good day for my noggin’ didn’t slide along the stones and neither did the pacemaker. Nevertheless I saw my heart specialist pronto. The moccasins were exiled to the black trashcan.

This has been my life for years now, and yet I’m alive. They say that the good die young. If so, what am I? … Evil? Maybe, but I don’t think so. Still, there are some people that will agree with this. For the record there’re not my friends.

I’ve discussed cracked skulls and trips to the emergency room, I’ve detailed the perfect storm that resulted in me continuing walk our earth, and I’m not repeating this here. (If interested see: Louis Kraft perfect storm and the Sand Creek Massacre).

I’m not going to tell about this book, except to say that it is one of the best books I’ve ever written. The reviews have been kind. If you want to see some background on the book, along with a few of the reviews, see: Books 2/The Discovery tab. Believe it or not, a number of the reviews state that it would make a good film or mini-series. This said, beware if you decide to read it for there is extreme violence, as well as sexual intimacy, and a darkness that at times is overwhelming, and would give the story an extreme “R” rating if ever produced as a film (perhaps stronger depending upon the script and director). A good friend, Tom Eubanks, read about 30 pages and stopped. He told me he knew where book was going. All I can say is that he was clueless, for the two leading players are on the book cover and he never met the newborn as an adult, and that is where the medical, judicial, intense character-study thriller begins. Begins. … BTW, the title is misleading while being dead on target. (art and book cover design © Louis Kraft 2016)

This said, my time has been questionable ever since I made a habit of cracking the back of my skull open. Other than a partnership on The Discovery with Robert S. Goodman that began at the time I needed to pay for a surgery that I didn’t know about until after the fact (oh yeah LK has gone from someone with wads of cash in his pockets to someone who picks up bottles on the street). This began in 2012 by my choice. At that time I endured a practice that was totally illegal, totally unethical, and yet a manager I saw only three times in my life not only backed the policy he salivated while supporting it. I doubt that I will ever write about it (although it is well documented; perhaps I should add it to my archive in Santa Fe). Alas, today truth in the USA is a dangerous thing to share. Money almost always wins out.

Regardless, I decided to never again write for the software world, and at that time I was pulling in six figures.

For the record, I believe that writers must move between different genres and push themselves to the limit as they explore and improve their craft.

The Discovery was a detour and at the same time the most important one in my writing life

Bob Goodman has been my physician for almost 30 years, and he along with another five specialists keep me living a good physical life. In 2002 Bob saw something that if not fixed would have led to my death in 2003 or perhaps early 2004. I owe him a lot. Add that I like him a lot, and when he approached me to partner with him to write his terrific story idea (folks, his premise was magnificent). More, as it was an historical piece that spanned over 20 years between the early 1950s and the early 1970s with a huge cast of players (read the Sand Creek story for scope and cast list), and I knew that it could give me what I needed for my nonfiction manuscript—learning how to make a story with many people whose actions are all over the place work in a linear progression. At this time the Sand Creek manuscript didn’t flow forward smoothly. Read that it was hackneyed at best; I’m sorry but that wasn’t acceptable.

A work in progress of LK and Bob Goodman (even though it carries a 2017 copyright). He hasn’t seen it yet. I had hoped to complete it this year and give it to him. Nope! Story of my life: A day late and a dollar short. … I will finish this painting hopefully in 2019 for I will be seeing him then. (art © Louis Kraft 2017)

The Discovery gave me what I needed to pull Sand Creek and the Tragic End of a LIfeway together and become reality. Hell, I’ve been a professional writer for decades and I was having trouble. I still had a massive amount of word crafting of facts and time in front of me to make the tragic end of the Cheyenne and Arapahos’ lifeway move forward in an acceptable manner. But now I was in the driver’s seat. God love you, Bob! I cherish our relationship and our partnership.

The other influences on my writing life

Technical writing had been a terrific experience. It is fast, demanding, and the deadlines are deadly. DEADLY. … When I worked in the film world you worked eight hours. After that it was time and a half and then after 10 hours more dollar bills flowed out of a fountain. On feature films I didn’t experience that much overtime but in TV it was a different story. On the last day of a medical TV pilot (read an hour and a half and shot in 15 or 17 days; can’t remember) the limited shoot (my guess at this late date as I didn’t keep the “call sheets,” which gave you a start time each day and what was being filmed that day) was get what was absolutely necessary and discard the un-shot script pages. That last day and night we worked 23 hours. My eyes turned into dollar signs. Often there were previews; I never saw one for this pilot, never saw the pilot on TV, and it never became a TV show. Not the first time or the last time.

Since we’re dealing with film and TV and that other money-maker I hated but did when I needed money—modeling, let’s touch base with the entertainment world in the 1970s and 1980s.

LK art of Bob Ellenstein. His son, David, also an actor and director, saw it in a blog years back, contacted me, and asked if he could have a copy. Of course; I sent him copies set to print as an 8×10″ and various versions for the internet. It was good catching up with him (he was a little boy when I spent a lot of time with Bob and his mother Lois at their home on the Westside of LA). Bob and Lois also had an in-house bookstore, and they were able to get me all of the classic works published on the pirate Francis Drake in the early 1970s including many that were simply primary-source documents. You can bet that both nonfiction and fictional works dealing with Mr. Drake are a comin’. (art © Louis Kraft 2015)

Actually more important is me clarifying what I learned from Bob (Robert) Ellenstein, an actor/director I met in college when he was the professional guest directing professor during my senior year at CSUN. Actually I learned it after graduation when I studied acting with him. This time, beginning in summer 1969 and continuing for a number of years led to a friendship between us that extended long after I stopped studying acting under his guidance. … At one point Bob told the small acting class that I took with him in the early ’70s (between eight and ten people), “Whatever you do, make sure you can live with it.” This was the absolute best advice I have ever received in my life. The absolute best! … And I have lived by it ever since.

This doesn’t mean that I’m a good person; it means that I have never done anything that I could not live with. Put another way, I have never sold my soul or body for money or advancement.

The year 2020 is front and center as long as LK doesn’t mess it up

Although I’ve spent a fair amount of time dealing with writing extra words above I’m totally aware of my contracted word counts. This guarantees that I’ll never place myself in a situation wherein I’m below the word count, need more, but am clueless where to dig for more facts and events simply as a filler as this not a good way to complete a manuscript.

But this isn’t the problem. Actually, it shouldn’t be a problem for when I buy into a project it is for 100 percent. Simply, this means that I’m not just the writer. I have a vision for my print projects, and I do everything possible to insure that the final product is as close to what I originally envisioned. This means that I am present throughout the production process with my input. Sometimes this isn’t appreciated. Too bad. It is my project and my input will happen. What I say, do, or insist upon is not egotistical. Not at all—it is simply to improve what is published.

I originally created this art of Ned Wynkoop for an article of mine (“Ned Wynkoop’s Lonely Walk Between the Races”) in Custer and His Times, Book Five (2008). It has appeared in I think three (perhaps four) additional publications including two (three?) magazines. Originally it was an oval portrait but has also been landscape. This image was last printed in Symphony in the Flint Hills: Field Journal, Volume V (2013), and it provided me with my best payday with this portrait. (art © Louis Kraft 2007)

Often I submit my photos/art for publication. It brings in money (sometimes four or five times when I get lucky and an image is resold). This is good for it helps pay bills. Sometimes my art is used to reduce the cost of the image in university press books wherein I am responsible for assembling all the photos and art for the publication. I negotiate with artists and owners of historical images (often offering a book in exchange for using their art/images). I think that this is fair for I save money, they get a copy of the first edition of the book as well as the publicity.

Regarding using my images in publications, at times I’ve been pinged as some people don’t like writers creating art for their words. Honestly, I don’t understand the reasoning behind this and have refused to respond to these comments.

In the past I have publicized photos and art in consideration for Sand Creek and the Tragic End of a Lifeway. The process has been ongoing for years, and I have been negotiating for a good part of this time with artists, private collections, as well as National Historic Sites.

Jerry Greene and Mr. Scott’s book (OU Press, 2004) is one of the better books published dealing with the massacre. The cover is a cropped version of Robert Lindneux’s Sand Creek Massacre art. The painting is landscape, so almost every book cover that features it has been cropped on one or both sides. This isn’t a problem when it is used in magazine articles. Jerry is a good friend whom I enjoy hanging out with whenever opportunity presents itself.

At the moment I am considering pushing two pieces of art for the cover, but I know as 2019 races toward summer that this number will increase. One thing is certain, the cliché art that has appeared on way-too-many Sand Creek books (some of which have nothing to do with the massacre) will not appear on my dust jacket—including Robert Lindneux’s painting (left), which is housed at History Colorado.

Want to read a terrific book dealing with the Cheyenne wars, read Jerry Greene’s Washita: The U.S. Army and the Southern Cheyennes, 1867-1869 (OU Press, 2004). While the book and dust jacket design were in production (I saw a proof of the cover art). Anita Donofrio, who kindly volunteered to do sound and lighting for an over-sold-out Wynkoop one-man show at the former Colorado Historical Society that year invited me to stay with her and her son (a totally delightful young man) the following week while I did research. She was/is a good friend of Jerry’s. I told her that if she invited him to dinner one night I’d cook. My reason: I wanted to meet him, and that evening, which went deep into the night, created a friendship.

Regarding LK’s cooking—don’t snicker. I’m a terrific cook, and have been for decades. … Gents, here’s a tip worth its weight in gold: The way to a woman’s heart is through her stomach (and I can prove this).

The here is now, … or is it put up or shut up?

I deliver my polished draft of Sand Creek and the Tragic End of a Lifeway to Adam in two weeks. If this draft passes review—fingers are always crossed—it is all uphill from here. Meaning: LK will have a Cheshire Cat grin on his face until 2020.*

* Lewis Carroll created this cat and its mischievous grin in his book Alice’s Adventures in Wonderland (1865).

This Sun Microsystems badge was the only one I ever bothered to grab, and I had no clue at this late date why I did this. In 2005, when the company purchased Seebeyond Technology Corp., they had over 40,000 employees worldwide. by late 2008 that figure had dropped to 24,000 employees. Poor management had doomed the company, whose stock plummeted to obscene levels when in January 2009 69 percent of the former Seebeyond employees then in Monrovia, Calif., were laid off. Often they talk about loyalty in sports or the lack of. Take a quick look at the technical world and you’ll see that they make the sports world look like amateurs when it comes to eliminating personnel.I participate in all of my projects in every way possible. At times—and this is a major understatement—production teams from art directors to editors and everyone in between would love to lock me in a cell until the book is published. … And I’ve heard the comments (or read them) to know that this is a true statement. They’re professionals, and most of them are very good at what they do.

I participate in all of my projects in every way possible. At times—and this is a major understatement—production teams from art directors to editors and everyone in between would love to lock me in a cell until the book is published. … And I’ve heard the comments (or read them) to know that this is a true statement. They’re professionals, and most of them are very good at what they do.

Alas, so am I, and I have done what they do. I’ve designed books, dust jackets, newsletters (wherein I was the editor and designer), created art, maps, and know that I must pay close attention to what is happening during every step of the production process or things can and might happen that are bad (or worse), and this isn’t on the production team. It’s on me. My name is on the book or article, and that means one thing: If there are errors (anything from a note that is no longer accurate or apropos, inaccurate captions, quoted text blind-edited, whatever) there is only one person to blame—LK. I’ve missed changed captions, notes that no longer deal with what they supposedly confirm, and I cringe when I realize that a quote has been altered. This list is ongoing, including index entries that vanish, even though I thought they were important.

My manuscripts receive two copyedits and they usually take about a month each (but that was back when I wrote for software companies and often had two-plus hours of drive time and overtime almost every day). This is no longer the case. Although the Sand Creek manuscript has a larger word count I think that the copyedits will take only a month each to complete.

LK acceptance of the Wrangler Award for “When Wynkoop was Sheriff” (Wild West, April 2011) at the Western Heritage Awards banquet in Oklahoma City in April 2012. Yeah, Kraft does dress up sometimes. On this evening I was wearing Cheyenne beaded moccasins. For the record, Cheyennes wore low moccasins (unlike the Apaches and the high moccasins shown above). To cover and protect their legs the Cheyennes wore leggings, which are described in detail in Sand Creek and the Tragic End of a Lifeway.

I want to say something here and it is of major importance. … I love my editors and copyeditors. Actually I consider myself one lucky SOB as I have been associated with OU Press and the University of Nebraska Press for they create first-class publications and are the two best Indian wars publishers in the world. In the world!

Unfortunately I think they and their production teams cringe when an LK manuscript arrives on their desks. Folks, I’m a historian, but I’ve also a teller of stories. This means I want character development. This isn’t easy in nonfiction. In the past I’ve had to fight to keep my character development. For example in Ned Wynkoop and the Lonely Road from Sand Creek (OU Press, 2011), his wife Louise is alone in their hotel room at La Fonda in Santa Fe, New Mexico Territory, when rats enter the room. She steps onto a chair and is still standing on it when Ned enters the room. Of course the rats scattered when he opened the door and he didn’t see them. He chides her, she gets angry and tells him to sit down. He does, and the rats return. Wynkoop leaps onto his chair, yanks out his Colt and begins shooting at the rats. This brings the hotel manager, who quickly moves them to another room. … The scene shows character, but the copyeditor cut it. I reinserted the scene and told her that it stays.

This image of LK was taken on the old Route 66 that sliced through a good portion of the USA back in days long gone. Alas, so are the towns, and some are little more than skeletons of what once was. My bro Glen Williams took this photo in front of a long-abandoned gas station in fall 2011 on the day after he and I delivered an LK archival package to Tomas Jahen (then of the Chávez History Library) and his family in Williams, Az. I really like Glen’s photo as it captured the destruction of a past that will soon vanish if not recorded. Ladies and gents, history will quickly fade into nothing if not recorded—Lost to time. Our grandparents, parents, and children (and that is all the personal history I have) will vanish without a trace if I don’t write about their lives. This is personal, and so is a memoir. (photo © Louis Kraft & Glen Williams 2011)

Many nonfiction books are stuffed with fact upon fact upon fact stringed together in—please forgive me good nonfiction writers for I’m not talking about you—long sterile sentences and paragraphs that can put me to sleep in two pages. I often must suffer through these, … these, … these, … what are they—Oh yeah, pages! Often they offer nothing that I need but I don’t know that until I read the last page. Wasted time? No, for I must know the answer. To borrow from the long departed TV show (which should have been left in peace) The X Files, “The Truth is Out There,” and I need to know it.

Long answer short. Good times are on the horizon for Sand Creek and the Tragic End of a Lifeway is about to move into production (if accepted), a process I love for it is a collaboration of many people working together to make the published book as good as possible. There are many steps, many reviews, many changes, and many suggestions to make the final product of value to those who read it. For me it is a thrilling time.

In closing Global Warming is here to stay

… and it will only get worse if action is not taken during our lifetimes.

It is unbelievable how many nay-sayers there are to this statement. Conspiracy stories abound. I know people who insist that the fires in California and elsewhere in the American West, the hurricanes that assault the East Coast, the Southern Coast, the Caribbean, and Texas, as well as the typhoons in other portions of the world are nothing more that disasters created by the “government.” “The government? Who? Trump?” “No, the government. The Clintons, Obamas, and Bushes.” … Beachfront property in SoCal is losing the war with the Pacific Ocean as the waves increase in velocity and pound the cement barriers that protect these over-priced houses in LA and San Diego Counties. Eventually the sea will destroy them, and the process has already begun.

This image of Pailin and LK doesn’t belong here. This said, I have no images of Climate Control for its future is still unknown. The LK/PSK future is known, and this end of Christmas 2018 photo shows this. We are together and we are one until the end of our time of walking Mother Earth. (photo © Pailin Subanna-Kraft & Louis Kraft 2018)

Those that deny the changes of weather conditions, the melting of icepacks, spout vehemently that it is all fake news. Some have even told me that the violence and mass murders across the USA never happened. They claim that it is “government” false news to spread hatred and violence and that these “fictions” are filmed performances using actors. They claim that the reason is to reduce the population and eliminate the middle class. … I agree that the USA is becoming a world of the super rich and the poor (who will soon become homeless—at least in LA, the homeless capital of the USA).

What about the recent report on global warning by the Federal Government? “Fake news!” … Maybe I’m old fashioned, maybe I’m not in line with today’s world, but I have a lot of trouble with slogans—such as Fake News. Don’t believe me see the Los Angeles Times 24nov2018 article “Climate report warns of bleak future”.


Since May and my last blog the following seven months have been a blur.
At times I didn’t know if I was sleeping or awake. I was focused solely on the
Sand Creek manuscript and the health of the ladies in my life. That’s it; that’s all that mattered. I became Rod Taylor as he sped between centuries in H. G. Wells’ novel turned into the classic 1960 film
The Time Machine (which would have blasted the 2002
adaption to kingdom come if it had the special effects capabilities available
during the first decade of the 21st century). Beginning in 2011 I have
been on a joyride without end, a joyride that at times descended
into the depths of Hell, but is not yet complete and won’t be
until 2020 when the book is printed.

There is one LK truism for the upcoming year—There will be more blogs.
The question is when?

John Smith, Gordon Yellowman, & the Sand Creek massacre

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


 

gyellowman_c1996_sandcreek1vibrance_ws

“Sand Creek” (above) is Southern Cheyenne Peace Chief Gordon Yellowman’s interpretation of what happened at the joint Cheyenne and Arapaho village that thought they were at peace with the U.S. military in November 1864. The results of this attack—read butchery—were horrific. In my humble opinion it says everything we need to know about that tragic day of November 29, 1864, in Colorado Territory. (art © Gordon Yellowman 1996)

This is the first time that I have led a blog with artwork and then featured it later in the same blog. The reason is of extreme importance to me.

The Sand Creek tragedy has returned to my life with a vengeance; actually
for some time. Progress is good, but slow (I could give myself a few
nicknames here but won’t for I don’t want any of them to stick).*

And as in the past I have found primary source documentation
that is an eye opener.

To give you an idea of how much, … in the late 1980s I
had outlined a novel with Indian agent Ned Wynkoop
as my chief villain. I had without enough research
added Wynkoop to the list of Indian agents
who robbed their wards while lying to
their U.S. government employers.

One problem: Wynkoop didn’t do
what I originally thought.

I never wrote
that book.

OVER THE LAST 30+ YEARS I’VE LEARNED A LOT,
AND BETTER I LEARN MORE EVERY DAY.

To quote Yogi Bera, the late and great catcher of the NY Yankees
during the Golden Age of Baseball, “It ain’t over ’til it’s over.”


* Actually I hate nicknames, but some people ignore this, and no matter how often I state that I don’t want a nickname they insist upon stuffing one down my throat. This makes me cringe every time I hear one or see one in print. For example, I’ve been called “Kit” Kraft, and nothing I say or do has killed this name. It’s not my name, will never be my name, and just thinking about it makes me want to vomit. Luckily the jerk didn’t call me “Wild Bill” Kraft. For the reason why see: https://www.louiskraftwriter.com/2016/09/17/the-tom-eubanks-louis-kraft-ned-wynkoop-errol-flynn-connection/.

Sand Creek is a story of people

Sand Creek and the Tragic End of a Lifeway is a story of people creating a future, retaining a lifeway, race relations, survival, and it is of major importance to me. Although I am working in familiar territory this manuscript is 100-fold more difficult to write than any of the previous nonfiction books that I have written.

A short detour

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(book cover art © Louis Kraft 2016)

My recent novel with partner Robert S. Goodman, The Discovery, which took place in Los Angeles over two decades (between 1951 and 1973), presented me with a lot of information that had to be accurate (medical, legal, not to mention historical facts), such as when the 101 Freeway that cuts through the north side of downtown LA, through the Cahuenga Pass and into the San Fernando Valley before continuing north and west as it skirts the Pacific Ocean. For the record it didn’t exist in 1952. CNN news didn’t exist in 1973; I had never watched it (but I do now on the internet). The Discovery had an enormous list of facts that had to be correct. Yeah, that’s right, even when you write fiction you have a responsibility to stick to reality.

When you write nonfiction it is a crime to get creative with facts and distort or change or invent them to support preconceived premises.

Sand Creek hasn’t been easy

What did I say? Sand Creek and the Tragic End of a Lifeway “is 100-fold more difficult to write”? This is perhaps the truest statement that I have ever made about my writing world. Honestly, this story, and remember I don’t write lists of facts but about people, is a living-breathing nightmare. … My average day? Try five to six or eight hours of research and if I’m lucky two or three or four hours of writing. I’m not talking polishing here, simply trying to get facts that I think are accurate written.

Word-smithing comes later—much later.

I’m approaching the Sand Creek manuscript as a biography but with multiple leading players. The goal is to smoothly flow all the key players’ actions into a storyline that shows what they did without allowing it to turn into a jerked-together mess of telling. As in the past this is a work that is taking longer than anticipated. The plus for me here is that, and as in the past, I have a lot of very knowledgable friends that constantly supply information and run thoughts, questions, and ideas by me. They open my eyes to information that I hadn’t known previously existed, and believe it or not, some of this information has changed my views on key people and their actions.

Dr. Gary Roberts and the beginning of a friendship

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This is Dr. Gary Roberts latest book (Abingdon Press, 2016), and in it he presents well-thought-out insights into to both Colonel John Chivington, who commanded the Colorado Volunteers that attacked the joint Cheyenne and Arapaho village at Sand Creek on November 29, 1864; and the second territorial governor of Colorado, John Evans. His book is available on Amazon.

Lately I’ve been enjoying a round-robin discussion with Gary Roberts, which began when my question of approximately how many miles would the Reverend John Chivington have been able to cover on a normal day’s travel during his first journey to Denver was forwarded to him. Gary kindly dug into it and answered me (and more than once on what he found). This opened an ongoing question-answer-thought provoking conversation that has led to a friendship.

During the last two or so months Gary has also opened my eyes to something that Wynkoop had done that I wasn’t aware of as well as other key questions I’m tracking on Chivington and others, and this includes primary source material on trader and interpreter John Simpson Smith that to date I haven’t been able to get my hands on, and by the way he is proving to be an unexpected surprise. I’ve also been focusing on Arapaho Chief Left Hand, and the more I learn about him the more I wish I knew.

Buddying up to John Simpson Smith

Actions—peoples’ actions—drive how I explore the people in my books, for what they did tells me who they were and what drove them. I cringe when someone tells me who they were. I don’t need opinions of who they were and neither do you. Also, I need to get as close as I can to walking in their shoes, boots, or moccasins as possible. Doing this is the only way I know of to prevent my bias from tarnishing how I present them in my writing. By this I mean that I must view and document their actions as they viewed them.

But first a little of LK and my lady

If you listen to some people who claim to be my friend I’m a loser, a failure, and an evil person. They secretly spread malicious rumors about Pailin’s and my life behind our backs.* For all the things that I’ve done in my life, I’ve done them while thinking that I acted correctly at all times.

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This is my lady and me on the Skywalk above the Grand Canyon in Arizona in late September 2013. We were one then and we are one today. Anyone who says different is a liar and asshole. (photo © Louis Kraft and Pailin Subanna 2013)

* I know a handful of people with Green Cards who are only in the United States to use our country, … that’s right, “to use our country” to their advantage and then desert it. They are by far a small minority, a small headcount, but still they are taking up precious space, headcount, and preventing someone who truly wants to make the USA their home from doing so. I find their actions despicable. Moreover, one of these people has taken my comments on other social media out of context and lied about it for unknown reasons. For the record, Pailin and my life together is one of love and is on course for our ultimate goal—her U.S. citizenship.

What I have just shared about our life is true, and Pailin will obtain her citizenship in the not-too-distant future.

The principle people in my manuscript did what they thought right when they acted

I honestly believe that Black Kettle, John Chivington, Left Hand, Ned Wynkoop, John Evans, Little Raven, George Bent, William Byers, John Smith, Charley Bent, Silas Soule, Edmund Guerrier, George Shoup, Scott Anthony, Tall Bull, and Bull Bear thought that they were right when they did what they did during the 1860s.

And this is exactly what I must do when I write about them.

It will be up to you to decide if you agree with their actions or not.

Finally to Mr. Smith

Alas, some of the players that I thought would have larger roles are shrinking while others are growing. One person, John Simpson Smith, the interpreter and trader that had married into at least two tribes has become a total surprise to me in the second decade of the 21st century. Those of you who read my biography on Ned Wynkoop, have heard my talks or read my articles about him know that Smith and Ned did not get along. This began when Wynkoop, who, along with others in their land development group that had traveled to the gold region near where the city of Denver would be founded, threatened to hang Smith in 1858 if he did not leave the area or join their company.

Have you ever been knocked cold with a sucker punch?
I have, and it affected my life.

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This is a cropping of the famed Camp Weld image that was taken after Governor John Evans and Colonel John Chivington met with Cheyenne and Arapaho leaders that Major Edward (Ned) Wynkoop (kneeling left) escorted to Denver in late September 1864 after he had met with them on a tributary of the Smoky Hill River in Kansas earlier that month. This is not the image that I used in Ned Wynkoop and the Lonely Road from Sand Creek, but is a cropped version of the original by an unknown person. Sitting directly behind Wynkoop is Southern Cheyenne Peace Chief Black Kettle (and who, with the Chiricahua Apache war leader Geronimo, I would gladly trade one year of my remaining life to be able to spend two weeks with these gentlemen). John Smith is standing left behind Black Kettle. The meeting on the Smoky Hill tributary was the first time that Smith and Wynkoop worked together after Wynkoop insisted that Smith translate for him at Fort Lyon at the beginning of the month (and this was their first connection since the threat of hanging Smith in 1858). Wynkoop needed an interpreter and he had only one choice—Smith. The events of September 1864 led to a four-year working relationship that neither Smith nor Wynkoop wanted. That month also began Wynkoop’s friendship with Black Kettle, a friendship that led to his turning his back on racial prejudice and accepting Cheyennes and Arapahos as human beings. … That is Captain Silas Soule kneeling next to Wynkoop. He was forced to participate in the attack on the Sand Creek village (Wynkoop wasn’t present at the attack as he was in transit to Kansas to await a potential court-martial). At Sand Creek Soule refused to fire his weapons. In 1864 he spoke out about the savage and brutal mutilation of men, women, and children and in 1865 testified about the attack. He was murdered in the streets of Denver in April 1865.

Don’t you doubt for one minute that the threat of death did not affect John Smith in the coming years. Don’t you doubt that he never forgave Wynkoop and the others that threatened his life. Almost six years later events forced Smith and Wynkoop to work together, and they would do so for another four years. Neither Smith nor Wynkoop liked or wanted this relationship, but they made the best of it. Knowing my connection with Wynkoop over the years, it’s a safe bet that my view of Mr. Smith has been less than sparkling. But times change with deeper research and understanding of people’s actions. … While struggling to understand how the people that I have chosen to propel Sand Creek and the Tragic End of a Lifeway toward conclusion I’ve found Smith to be a major player. Every time I turn around there he is again.

Damn you Smith! Go away and hide!
You’re gobbling up precious word count.

Too many historians tell us how bad a person John Smith was, but alas they don’t do much showing us why they damn him to hell as an evil creature. They make no attempt to understand his actions or the actions that affected his life. This said I am in the middle of trying to find primary source material that proves beyond a doubt why the Arapahos wanted nothing to do with him. This is absolutely key and I must locate it. … ‘Course Mr. Smith, who walked between the races for decades, survived as a key U.S. interpreter for Wynkoop and even more impressive as the interpreter for all the Cheyenne-U.S. treaties. If he was the “liar” as some historians proclaim, why didn’t he end up with a knife in his guts, why weren’t his sexual organs hacked off, and why didn’t he meet a sudden end?

Let’s return to my belief that actions define a person and when documented allow readers to decide how they view the person being examined.

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LK art of a debonair John Smith in the early 1860s. If I use this image in the Sand Creek book I need to improve the final product for it needs more work. (art © Louis Kraft 2016)

The book contract allows me 37 images, and currently I’m planning to have three maps. That leaves 34 images, and at the moment at least three could feature Smith. … And this is because I am discovering a man who had a lot more to offer than his less than sparkling relations with Wynkoop. … I try not to repeat images in my books, but one will definitely be reprinted in Sand Creek and the Tragic End of a Lifeway, and that is the Camp Weld image of Black Kettle, Bull Bear, Neva, John Smith, Silas Soule, and Ned Wynkoop that was taken shortly after Governor John Evans, Colonel John Chivington, Black Kettle, and other chiefs spoke on 28sept1864 (see the above group shot). Most likely only one of the other Smith images will make it into the final book, but whichever one makes the final cut will be of massive importance.

What I know to date is that every image that I have seen of John Smith was taken when he was in a controlled area and was dressed in dapper clothing. Ladies and gents, John Smith walked between the races and he married American Indian women. It is not a huge stretch to surmise that he did so because he loved them (and perhaps because he saw that an interracial marriage presented him with an opportunity to trade with the Cheyennes). Yes, he could have married them because he thought that by doing so would have opened a large door of trading with native people, but this is a stretch in today’s thinking and an even larger stretch during Smith’s lifetime. … John Smith ventured westward at the time of the trappers, and although marrying into one tribe might have saved his scalp with the people he chose to marry into it didn’t preserve it in the eyes of all the tribes at war with his new wife’s people. What did John Smith gain from such a marriage? Yes, when the day of trapping neared its end might have been reason for such an interracial marriage, but to date I haven’t been privy to Smith’s views on his marriages (if indeed they exist somewhere; alas, this is unlikely). Did Smith know that he would become an Indian trader? Probably yes, but also maybe no. … Like rebels of our time he didn’t fit in with his time. Before taking that huge step and marrying an American Indian woman he knew that such a relationship would immediately cast him as an outsider to his own race, and a man to be scorned. Without a doubt he came to respect the Indians he associated with, and especially the Cheyennes (again, I have seen zero proof in Smith’s words, but I do believe there is enough documentation of his actions to support this view). Add the correct woman, and Smith gladly accepted a racial marriage at a time when it was almost universally rejected. This was a brave decision by him, and one that he had to have made with his eyes wide open.

A possible dust jacket

I have at times used an image of a photo that I took of the Pawnee Fork village site in Kansas to represent Sand Creek. I did this to use a dark representation of a horrific murder of people who thought that they were under the protection of the U.S. military.

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This image was created from a photo that I had taken of a Cheyenne re-enactor village on the Pawnee Fork village site in Kansas in modern times. I had turned it into line art, darkened the image and have at times used it to represent the 1864 Sand Creek village. My friend and historian Eric Niderost has panned me for using this image more than once, and he’s right. Still I needed an image to represent the Sand Creek village. Not to worry for this image will never appear in any of my books. (art © Louis Kraft 2013)

I’m having a terrible time trying to come up with a good illustration for the cover of Sand Creek and the Tragic End of a Lifeway. I hate the way-over used painting by Robert Lindneux of the assault that resulted in the murder of way-too-many innocent people at Sand Creek (as I don’t think that it is accurate). … As you know, I dabble in art for my articles and books but I have absolutely nothing that could possibly represent my Sand Creek manuscript.

For the record I also hate dust jackets that have a bunch of portraits (photos or art). In the case of Sand Creek and the Tragic End of a Lifeway an assembly of Black Kettle, John Chivingrton, George Bent, John Evans, Little Raven, Ned Wynkoop, George Shoup, William Bent, William Byers, Bull Bear, Silas Soule but without key player Left Hand as we don’t know what he looked like, would be pure crap. These covers tell us nothing, and as far as I’m concerned they were created because the writer had no opinion and the art director at the publishing house was clueless.

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LK with Gordon Yellowman at the conclusion of the Washita Battlefield National Historic Site symposium on 12nov2011 (this is the correct date). (photo courtesy of the Washita Battlefield NHS)

What do I currently have? Nada (Nothing).

Or do I? … There is a print that I purchased, framed, and then hung in Tujunga House as soon as I returned home from my first Fort Larned National Historic Site speaking engagement in Kansas in 1999. (See “Sand Creek” above.) It was at that event when I first met Gordon Yellowman, who also spoke at the event. His art is a great rendering of that tragic day of the butchery of innocent people.

There’s one problem, and it is a major one, Chief Yellowman’s painting is landscape where most book cover jacket artwork is portrait. How do I deal with this? … I think I know the answer, but I can’t/won’t deal with it until Editor-in-Chief Chuck Rankin and OU Press are in line with my tardy text delivery. I was slow and took forever to deliver Ned Wynkoop and the Lonely Road from Sand Creek. With luck all will be good with my Sand Creek manuscript delivery. When Chuck and I agree with my current manuscript, and not until then, my focus must be on the research and words. Until then nothing else counts, for if my words and storyline fail there is no book.

A printable manuscript is absolutely mandatory before we move into the publication process. To repeat myself, until Chuck and I agree that the manuscript is ready to go to press, and only then, it is not time for me to move forward into a world that I have at times not been welcome. … Over the years I’ve had some book covers that I like, and have played a part in a number of the covers. I designed Custer and the Cheyenne (nothing more need be said here), I created the art for Gatewood & Geronimo, it was upon my insistence to use the 1861 Wynkoop portrait and colorize or duotone it for Ned Wynkoop and the Lonely Road from Sand Creek, and I created the art and designed the book cover for The Discovery.

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LK with OU Press Editor-in-Chief Chuck Rankin at the Western History Association convention in Oakland, California, on 15oct2011. OU Press created the poster for Ned Wynkoop and the Lonely Road from Sand Creek (seen behind us) for the event. Chuck kindly gave it to me, I had it framed, and it is displayed at Tujunga House. (photo © Louis Kraft & Chuck Rankin 2011)

I know, the above sounds egotistical. It isn’t, for I’ve played a major role in over 200 other book covers (that don’t count for they were in the software world), and that doesn’t include the five or six that I designed for Upton and Sons, Publishers, in El Segundo, California. Give me a break! I know what is good design and I know what is bad design, and that said I’ll never push for bad design for any of my freelance books. Never! And you can take that to the bank.

You can bet that once Sand Creek and the Tragic End of a Lifeway moves into production, and Chuck and crew are in agreement with my view of Chief Yellowman’s art, I will approach Gordon. When we get to this point, hopefully he’ll agree that his art would make a magnificent book cover. But, and this is important, if the press’s art director insists that Gordon’s art won’t work because it is landscape I will approach Gordon to see if we could compromise. BTW, my playing with size proportions and using the Wynkoop book dimensions lead me to believe that we can use Gordon’s entire painting with small black bleeds to the left and right, a slightly larger bleed above the top, and a larger bleed below his art for the title and author credit.

I’m a firm believer in reaching for the stars. …

Finally a dark side that we cannot ignore

Our life, and ultimately our future, is based upon our past. It is on us to correctly document our history (and I’m talking about your history and my history). If we can’t honestly do this how can we move into our future? We need to know who we are and how and why we have become who we are. … We live on one earth, and we are but one people even though our colors, religions, politics, and races are different. The key here is people, one people—us. It is on us to get beyond all our greed and fears and hatreds and accept all of us as one. … For only then will we get beyond attacking and raping and murdering other people because their god is different, they have land and resources that we crave, and that we must decimate or dominate them to insure our freedom and safety.

Again, we are one people on one earth. If we fuck it up, or if they fuck it up—we all lose.