In this report, Albert C. Spaulding describes the 1939 archaeological excavations at the Arzberger site, in Hughes County, South Dakota, near the Missouri River. Spaulding and his team found the remains of more than forty houses, of which they excavated four. They also found a ditch and stockade; human burials; and artifacts, including pottery, shell, bone, and stone tools.

In July 1909 twenty-one-year-old Elizabeth Corey left her Iowa farm to stake her claim to a South Dakota homestead. Over the next ten years, as she continued her schoolteaching career and carved out a home for herself in this inhospitable territory, she sent a steady stream of letters to her family back in Iowa. From the edge of modern America, Bess wrote long, gossipy accounts—"our own continuing adventure story," according to her brother Paul—of frontier life on the high plains west of the Missouri River. Irrepressible, independent-minded, and evidently fearless, the self-styled Bachelor Bess gives us a firsthand, almost daily account of her homesteading adventures. We can all stake a claim in her energetic letters.

This book assembles information on the fish fauna of South Dakota into a conveniently usable form. Ninety-three species are described with precise data on distribution and measurements. Additionally, this book attempts (1) to collect and identify published records of South Dakota fishes, (2) to present keys for the identification of fishes known or expected to occur in South Dakota, (3) to record original distributional data based on 137 fish collections taken throughout the state, (4) to solve some problems involving the systematic status of certain South Dakota species, (5) to clarify or extend information on the distribution of several species in the adjoining Plains area, and (6) to determine the geographic sources of origin of South Dakota fishes and to interpret routes of postglacial dispersal.

Adrian C. Louis’s previously unpublished early novel has given us “the unsayable said” of the Native American reservation. A realistic look at reservation life, The Ghost Dancers explores—very candidly—many issues, including tribal differences, “urban Indians” versus “rez Indians,” relationships among Blacks, Whites, and Indians, police tactics on and off the rez, pipe ceremonies and sweat-lodge ceremonies, alcoholism and violence on the rez, visitations of the supernatural, poetry and popular music, the Sixties and the Vietnam War, the aims and responsibilities of journalism, and, most prominently, interracial sexual relationships. Readers familiar with Louis’s life and other works will note interesting connections between the protagonist, Bean, and Louis himself, as well as a connection between The Ghost Dancers and other Louis writings—especially his sensational novel Skins.

It’s 1988, and Lyman “Bean” Wilson, a Nevada Indian and middle-aged professor of journalism at Lakota University in South Dakota, is reassessing his life. Although Bean is the great-grandson of Wovoka, the Paiute leader who initiated the Ghost Dance religion, he is not a full-blood Indian and he endures the scorn of the Pine Ridge Sioux, whose definition of Indian identity is much narrower. A man with many flaws, Bean wrestles with his own worst urges, his usually ineffectual efforts to help his family, and his determination to establish his identity as an Indian. The result is a string of family reconnections, sexual adventures, crises at work, pipe and sweat-lodge ceremonies, and—through his membership in the secret Ghost Dancers Society—political activism, culminating in a successful plot to blow the nose off George Washington’s face on Mount Rushmore.

Quintessentially Louis, this raw, angry, at times comical, at times heartbreaking novel provides an unflinching look at reservation life and serves as an unyielding tribute to a generation without many choices.

Focusing on the Plains territory of east central South Dakota as well as the Great Lakes lumber-producing region of Wisconsin's Chippewa Valley, John Vogel carefully and thoroughly examines the pattern and process by which lumber reached South Dakota. The Great Dakota Boom of 1878 to 1887 and the Laird, Norton Lumber Company of Winona, Minnesota, provide the basis for his engrossing book.

The westward expansion of the railroad and the continuing settlement of the Great Plains in the late nineteenth century allowed the lumber companies of Minnesota and Wisconsin to send their boards and beams and fenceposts and millwork to a market characterized by great demand and small supply. Laird, Norton followed settlers across southern Dakota as they arrived on the trains. The eastern portions of Dakota were settled first, and thus early lumberyards were found there; as settlement moved west, so did the lumberyards. Beyond its all-important function of distribution, the railroad forced Laird, Norton to alter the very structure of its operation. Experimenting with nearly complete vertical integration, the company pioneered organizational models that would serve significant purposes as frontier America—a republic of wood—solidified itself economically and culturally.

In the mid-1960s, Winberg Chai, a young academic and the son of Chinese immigrants, married an Irish-American artist. In Hapa Girl ("hapa" is Hawaiian for "mixed") their daughter tells the story of this loving family as they moved from Southern California to New York to a South Dakota farm by the 1980s. In their new Midwestern home, the family finds itself the object of unwelcome attention, which swiftly escalates to violence. The Chais are suddenly socially isolated and barely able to cope with the tension that arises from daily incidents of racial animosity, including random acts of cruelty.

May-lee Chai's memoir ends in China, where she arrives just in time to witness a riot and demonstrations. Here she realizes that the rural Americans' "fears of change, of economic uncertainty, of racial anxiety, of the unknowable future compared to the known past were the same as China's. And I realized finally that it had not been my fault."

For over 150 years the Lakota have tenaciously defended their culture and land against white miners, settlers, missionaries, and the U.S. Army, and paid the price. Their economy is in shambles and they face serious social issues, but their culture and outlook remain vibrant. Basketball has a role to play in the way that people on Pine Ridge Indian Reservation configure their hopes for a better future, and for pride in their community.

In Lakota Hoops, anthropologist Alan Klein trains his experienced eye on the ways that Lakota traditions find a seamless expression in the sport. In a variety of way such as weaving time-honored religious practices into the game or extending the warrior spirit of Crazy Horse to the players on the court, basketball has become a preferred way of finding continuity with the past. But the game is also well suited to the present and has become the largest regular gathering for all Lakota, promoting national pride as well as a venue for the community to creatively and aggressively confront white bigotry when needed.

Richly researched and filled with interviews with Pine Ridge residents, including both male and female players, Lakota Hoops offers a compelling look at the highs and lows of a community that has made basketball its own.

In No Place Like Home, Linda Hasselstrom ponders the changing nature of community in the modern West, where old family ranches are being turned into subdivisions and historic towns are evolving into mean, congested cities. Her scrutiny, like her life, moves back and forth between her ranch on the South Dakota prairie and her house in an old neighborhood at the edge of downtown Cheyenne, Wyoming. The vignettes that form the foundation of her consideration are drawn from the communities she has known during her life in the West, reflecting on how they have grown, thrived, failed, and changed, and highlighting the people and decisions that shaped them. Hasselstrom’s ruminations are both intensely personal and universal. She laments the disappearance of the old prairie ranches and the rural sense of community and mutual responsibility that sustained them, but she also discovers that a spirit of community can be found in unlikely places and among unlikely people. The book defines her idea of how a true community should work, and the kind of place she wants to live in. Her voice is unique and honest, both compassionate and cranky, full of love for the harsh, hauntingly beautiful short-grass prairie that is her home, and rich in understanding of the intricacies of the natural world around her and the infinite potentials of human commitment, hope, and greed. For anyone curious about the state of the contemporary West, Hasselstrom offers a report from the front, where nature and human aspirations are often at odds, and where the concepts of community and mutual responsibility are being redefined.

In a 1953 effort to end the authority of local Native American governments, Congress passed Public Law 83-280. Allowing states to apply their criminal and civil laws to Native American country, the law provided an unparalleled opportunity for the state of South Dakota to crush burgeoning Lakota nationalism.
 
Edward Valandra's Not Without Our Consent documents the tenacious and formidable Lakota resistance to attempts at applying this law. In unprecedented depth, it follows their struggle through the 1950s when, against all odds, their resistance succeeded in the amendment of PL 83-280 to include Native consent as a prerequisite to state jurisdiction. The various House and Senate bills discussed in the manuscript are reproduced in five appendices.
 

Based on interviews and life histories collected over more than twenty-five years of study on the Pine Ridge reservation in South Dakota, Marla N. Powers conveys what it means to be an Oglala woman. Despite the myth of the Euramerican that sees Oglala women as inferior to men, and the Lakota myth that seems them as superior, in reality, Powers argues, the roles of male and female emerge as complementary. In fact, she claims, Oglala women have been better able to adapt to the dominant white culture and provide much of the stability and continuity of modern tribal life. This rich ethnographic portrait considers the complete context of Oglala life—religion, economics, medicine, politics, old age—and is enhanced by numerous modern and historical photographs.


"It is a happy event when a fine scholarly work is rendered accessible to the general reader, especially so when none of the complexity of the subject matter is sacrificed. Oglala Women is a long overdue revisionary ethnography of Native American culture."—Penny Skillman, San Francisco Chronicle Review

"Marla N. Powers's fine study introduced me to Oglala women 'portrayed from the perspectives of Indians,' to women who did not pity themselves and want no pity from others. . . . A brave, thorough, and stimulating book."—Melody Graulich, Women's Review of Books

"Powers's new book is an intricate weaving . . . and her synthesis brings all of these pieces into a well-integrated and insightful whole, one which sheds new light on the importance of women and how they have adapted to the circumstances of the last century."—Elizabeth S. Grobsmith, Nebraska History

Between 1900 and 1915, in the last great land rush, over one hundred thousand homesteaders flooded into the west river country of South Dakota, a land noted for its aridity and unpredictable weather, its treelessness, and its endless sky. The settlers of “the last, best west” weathered their first crisis in the severe drought of 1910-1911, which winnowed out many of the speculators and faint of heart; they abandoned their founding hopes of quick success and substituted a new ethos of “next year country”—while this year was hard, next year would be better, an ironic phrase at once optimistic and fatalistic.

“Next year,” however, was in many of those years not better. The collapse of the agricultural economy in the immediate aftermath of the boom years of World War I set in motion a pattern of regional decline amid national prosperity and cultural change: the rise of radio and mass culture increased rural folks' awareness of national trends and tastes, a development which paradoxically increased their own sense of remoteness and isolation. The failure of the farm economy to recover to any substantial degree in the twenties caused a less dramatic but cumulatively greater impact on the west river country's population and prospects—a second great crisis.

The Great Depression and the dustbowl years of the thirties were the greatest test of the west river people. The drought of 1910-1911, heretofore seen as the benchmark of bad times, faded even in the remembrances of the original pioneers in the face of the thirties' relentless drought, grasshoppers, blowing dust, and the accompanying starvation, struggle, and despair. The Depression in the west river country was a blast furnace from which a hardened yet still hopeful people emerged, scathed but undefeated. The Prairie Winnows Out Its Own is the voice of this experience.

From one of the writers of the twentieth-century Native American Literary Renaissance comes a remarkable tale about how to acknowledge the past and take a chance on the future. Rooted in tribal-world consciousness, That Guy Wolf Dancing is the story of a young tribal wolf-man becoming a part of his not-sonatural world of non-tribal people. Twenty-something Philip Big Pipe disappears from an unsettled life he can hardly tolerate and ends up in an off-reservation town. When he leaves, he doesn’t tell anyone where he is going or what his plans, if he has any, might be. Having never taken himself too seriously, he now faces a world that feels very foreign to him. As he struggles to adapt to the modern universe, Philip, ever a “wolf dancer,” must improvise, this time to a sound others provide for him. Like the wolf, Philip sometimes feels hunted, outrun, verging on extinction. Only by moving rhythmically in a dissident, dangerous, and iconic world can Philip Big Pipe let go of the past and craft a new future.