Fanny Kelly (1845-1904) was a North American pioneer. She was captured by the Sioux and released five months later. Her memoirs, which describe her capture, were first published in 1871.

In July, 1864 hostile Oglala Sioux Indians attacked the wagon train of the pioneering Kelly and Larimer families approximately 80 miles west of Fort Laramie, Wyoming. Several people were killed or wounded but Sarah Larimer and Fanny Kelly, together with some of their children, were taken into captivity by the Indians. On the second night of their captivity Sarah Larimer and her son managed to escape from the Indian camp and after many difficulties and privations they reached the Deer Creek telegraph station and safety. This book is Sarah Larimer's story of her ordeal.

The Dakota War (1862) was a searing event in Minnesota history as well as a signal event in the lives of Dakota people. Sarah F. Wakefield was caught up in this revolt. A young doctor’s wife and the mother of two small children, Wakefield published her unusual account of the war and her captivity shortly after the hanging of thirty-eight Dakotas accused of participation in the "Sioux uprising." Among those hanged were Chaska (We-Chank-Wash-ta-don-pee), a Mdewakanton Dakota who had protected her and her children during the upheaval. In a distinctive and compelling voice, Wakefield blames the government for the war and then relates her and her family’s ordeal, as well as Chaska’s and his family’s help and ultimate sacrifice. This is the first fully annotated modern edition of Six Weeks in the Sioux Tepees. June Namias’s extensive introduction and notes describe the historical and ethnographic background of Dakota-white relations in Minnesota and place Wakefield’s narrative in the context of other captivity narratives.

The Bad Old Days of Montana celebrates the state’s glorious and rowdy past. Many people born and bred here relish just how “bad” things used to be: the terrain, the inhabitants and especially the quality of whiskey. It almost goes without saying that Montana had all the characteristic wild west elements — and in abundance! The chapters focus on the infamous and notorious rather than the law-abiding and civic-minded settlers. These pages, like the state, recount the tales of people who came west seeking if not their fortune, at least opportunity. It is no secret that Montana was settled by the adventurous willing to brave the harsh conditions and to prevail. Whether on the right or the wrong side of the law, all settlers and pioneers made unique contributions to the state’s complex culture. Certainly, in the nineteenth century, Montana was not for the faint of heart. Beginning with the Lewis and Clark Expedition of 1804 as the origins of the mountain men, the book will offer a variety of strange tales, ranging from vigilanteeism to the heyday of the Copper Kings. Many such tales were influenced by too much whiskey and greed. This book is an account of the misfits, outlaws and rugged individuals who cast their mark on this most remarkable state. Populated by the native tribes before “discovery” by Lewis and Clark at the headwaters of the Missouri River, the land that would become known as Montana was traversed by mountain men, mined by gold and mineral seekers and ranched and harvested by the homesteaders. Throughout these varied waves of discovery and settlement, this book explores the less-than-savory dealings, the early attempts at law and order (which often failed or had questionable results), and the myriad of colorful characters and events that made Montana what it is today.

In the first book to focus on relations between Indians and emigrants on the overland trails, Michael L. Tate shows that such encounters were far more often characterized by cooperation than by conflict. Having combed hundreds of unpublished sources and Indian oral traditions, Tate finds Indians and Anglo-Americans continuously trading goods and news with each other, and Indians providing various forms of assistance to overlanders. Tate admits that both sides normally followed their own best interests and ethical standards, which sometimes created distrust. But many acts of kindness by emigrants and by Indians can be attributed to simple human compassion. Not until the mid-1850s did Plains tribes begin to see their independence and cultural traditions threatened by the flood of white travelers. As buffalo herds dwindled and more Indians died from diseases brought by emigrants, violent clashes between wagon trains and Indians became more frequent, and the first Anglo-Indian wars erupted on the plains. Yet, even in the 1860s, Tate finds, friendly encounters were still the rule. Despite thousands of mutually beneficial exchanges between whites and Indians between 1840 and 1870, the image of Plains Indians as the overland pioneers’ worst enemies prevailed in American popular culture. In explaining the persistence of that stereotype, Tate seeks to dispel one of the West’s oldest cultural misunderstandings.

While often less celebrated than their male counterparts, women have been vital contributors to the arts for centuries. Works by women of the frontier represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression by women of this time period is as impressive as the women themselves. In Frontier Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass explores the rich history of women’s creative expression from the beginning of the Federalist era to the end of the 19th century. Focusing particularly on Western artistic style, the importance of cultural exchange, and the preservation of history, this book captures a wide variety of artistic accomplishment, such as: Folk music, frontier theatrics, and dancing Quilting, stitchery, and beadwork Sculpture and adobe construction Writing, translations, and storytelling Individual talents highlighted in this volume include basketry by Nellie Charlie, acting by Blanche Bates, costuming by Annie Oakley, diary entries from Emily French, translations by Sacajawea, flag designs by Nancy Kelsey, photography by Jennie Ross Cobb, and singing by Lotta Crabtree. Each entry includes a comprehensive bibliography of primary and secondary sources, as well as further readings on the female artists and their respective crafts. This text also defines and provides examples of technical terms such as applique, libretto, grapevine, farce, coil pots, and quilling. With its informative entries and extensive examinations of artistic talent, Frontier Women and Their Art is a valuable resource for students, scholars, and anyone interested in learning about some of the most influential and talented women in the arts.