Louis Kraft Sand Creek Massacre, Errol & Olivia, and Navajo Blood updates

Website & blogs © Louis Kraft 2013-2020

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


LK is burned out, a skeleton that
functions on reflex. This came about from weeks,
months, and now pushing three years of working almost
seven days a week on the Sand Creek project. It
is now 11jun2019 and I have much that must
still happen for Sand Creek and the Tragic
End of a Lifeway to see the light of day
in 2020. Everything is business, but
key is that LK must provide
OU Press everything it
requires for the book
to be published.
Everything.

This is on me, and I wouldn’t have it any other way.
But before I share my progress I want to give you a hint of what follows it.

I was going to use the above image without the words later in this blog but then changed my mind. It dates to 1982 after I returned to SoCal after playing Miles Hendon during a 1981-1982 135-performance tour in Northern California of The Prince and the Pauper (based upon Mark Twain’s novel and Errol Flynn’s 1937 film). I choreographed the duel in the play and had a living blast during the tour. This image was taken while I worked out with actors that knew how to handle the sword for five one-act plays that were grouped together. We performed them in late spring or early summer. I performed in three of them and wrote one. … A battle of the sexes wherein the hero—yours truly—was done in by a lady who knew how to handle a blade, but was no competition for hero Kraft, who toyed with her before disarming her and forcing her to the ground. She was on her back, unarmed, and at the hero’s mercy as the play ended. But all wasn’t as it seemed to be. While Kraft bowed and enjoyed the audience’s applause and cheering one well-placed punch turned victory into defeat—to the delight of everyone who saw The Fencing Lesson. Well-choreographed slashing blades enacted with sexual innuendo while lightly played for laughs was perhaps one of my better writing/acting efforts … until the lady regained her feet and proceeded to bash the hell out of me with relentless fists that ended the play with a standing ovation—for her. (photo © Louis Kraft 1982)

This blog is much more than a Sand Creek book update

Much-much more. … For it marks the beginning of my writing future. The time has arrived and some of it may shock you, but what follows—like my Indian wars books—has been in place for many years. By that I mean that the research has been ongoing for decades. Decades. This does not mean that I’m turning my back on the American Indian wars, for I’m not … I’m simply changing my focus while continuing to do what I’ve done for a very long time. It feels like it has been a lifetime coming but with Sand Creek and the Tragic End of a Lifeway racing toward publication the time has arrived.

You know that I’m cryptic at times and certainly secretive. Alas, that still is in place. … This blog will deal with three books, and some important surprises.

There is no reason be silent in regards to the three books

  • Sand Creek and the Tragic End of a Lifeway (but you knew it was on this list).
  • Errol & Olivia, which is a dual biography of Errol Flynn and Olivia de Havilland during the making of the eight films they did together.
    • Research continues on two additional nonfiction books on Flynn.

This change is not a move away from my Indian wars/race passion to the world of film (my other passion), but a continuation while I branch out into areas that have been on my plate for what feels like an eternity.

  • Navajo Blood, a novel that deals with dark-dark times in the Southwest during the years 1863 and 1864 and will have a mix of real Diné (as the Navajos call themselves) such as Chiefs Manuelito and Barboncito; as well as frontiersman turned soldier Kit Carson, among others; and fictional players, two of whom are key to the entire story.
    • This novel isn’t a one-and-done effort with Mr. Carson.

What follows is my future.

Sand Creek and the Tragic End of a Lifeway status

Ohhh baby is time flying past at lightning speed.

My last manuscript status on these blogs was on the last day of December 2018. Time simply disappears when you’re having fun. I often feel as if I’m swimming off the SoCal coast in the Pacific Ocean, and this is good as I’ve been a fish ever since the first or second grade. But not really for although I’m making deliveries that are mandatory for the Sand Creek manuscript to see print I think that OU Press views my progress as I race toward the finish line closer to “a snail’s pace.”

We have Great White sharks off the coast of Los Angeles, and as temperatures warm more and more are seen. This year schools of four and five have been photographed cruising above the surface and just beyond the breakers from helicopters. One can only wonder how many of their brethren are forever searching for their next meal hidden from sight. I refuse to become shark bait screaming as I sink into the murky depths of the Pacific only to have chunks and pieces of a once-cocky writer who is no more float to the surface and gently flow to shore. … This image is an LK vision of Costa Rica’s west coast. It looks like a wonderful place to walk naked along the beach. Oops! Ignore that. … I wonder if Great Whites swim that far south. (art © Louis Kraft 2019)

I will deliver.

Manuscript delivery
I made the final manuscript delivery in mid-January. OU Press Editor-in-Chief Adam Kane and Production Manager Steven Baker (who I worked with on Ned Wynkoop and the Lonely Road from Sand Creek) have told me that the story flows, is readable, and will do well when published. Adam also told me that the book would sell even if there were no photos or art.

I took this image of Cheyenne Chiefs Lawrence Hart (standing center right) and Gordon Yellowman (praying at right) while they blessed the Cheyenne-Dog Man-Lakota village that Maj. Gen. Winfield Hancock destroyed, and in my opinion without cause, in April 1867. Just one of many heinous crimes performed by the U.S. government and their cronies during the entire 1860s when the United States swept westward with the lone goal of securing every acre of land that held value and to hell with any American Indian that dared to say, “Stop! This is my land.” I don’t know if you’ll ever read Sand Creek and the Tragic End of a Lifeway. If you don’t read the book but see it somewhere look at the last paragraph as it shows you exactly why I signed on for this project without end. The lady with the blanket around her shoulders at center-left is Gordon’s wife Connie. I met her at this two-three day event and spent a lot of time with her. Good times for LK as I enjoyed her company while appreciating what she shared with me. The only other person in this image that I know is George Elmore (left in the sergeant’s uniform). We met in 1990 while I was researching The Final Showdown (1992) and he gave me and my daughter a private tour of the Fort Larned NHS, a lot of which made it into the novel. Both he and Gordon have influenced my life, not to mention having played key roles in the completion of Sand Creek and the Tragic End of a Lifeway. (photo ©  Louis Kraft 1999)

To get to this point in time has never been a one-man show. There have been a lot of people who have unselfishly shared their knowledge, their time, and their patience with me. They have ranged from writer-historians to National Historic Site personnel to archivists to American Indians to friends whose interest is the same as mine to the staff at the University of Oklahoma Press, for without all of them there would be no book. I’m not listing them here but perhaps when I write the blog that announces the publication of the book I’ll focus on them (more below).

Images
The manuscript has 34 contracted images and all have been delivered to OU Press (the last two in late May). I’ve always known what I thought I wanted, but time and due to simply not finding specific photos or art more often than not made unexpected searches mandatory. As with my research on the manuscript many people and organizations played key roles in me actually completing this list. It goes without saying that at times this search was agonizing.

This is a colorization of a detail of a woodcut in the LK personal collection that I had used a grayscale of in Ned Wynkoop and the Lonely Road from Sand Creek. It is of Bull Bear (left) and Black Kettle on 28sept1864. I had considered using the entire woodcut in Sand Creek and the Tragic End of a Lifeway but early on decided against this. (Detail colorization © Louis Kraft 2013)

As always for me it is the process, and in the case of photographs, art, and woodcuts it included hot trails that eventually turned ice cold. When this happened I was always disappointed, but that never lasted long. As I’ve always had backup selections identified, and if they weren’t in-house I began new searches.

Working on photos that needed restoration has been an ongoing task of major proportions. Ditto obtaining photos and art from archives as well as individuals. Regrettably some of the archives’ responses have been at a turtle’s pace. Some have come through and some fell by the wayside as I ran out of time and scrambled to obtain other images. Still many people and organizations stepped up to the plate (a baseball term) in my quest to locate, obtain, and when necessary purchase the images and, if required, the use fees. To each and every one of you thank you from the bottom of my heart.

As announced, and I think at the end of last year, I will not share any image that will appear in Sand Creek and the Tragic End of a Lifeway until it is published. This is firm.

Maps
My cartographer needs to be mentioned; his name is Bill Nelson. I hired him to create two maps for Ned Wynkoop and the Lonely Road from Sand Creek (2011) from my rough drafts. If you’ve seen the book you know that his work sparkles. One of the Wynkoop maps is displayed below. I again hired Bill for this book, but this time I reworked the two Wynkoop maps to create drafts for him, and he has finished them and they will shine. I hope to deliver my draft of the third and final map to him later this week. Like my original drafts for Wynkoop this map will be rough. Although it now has a firm-no move deadline of August 5 that I think will be fine.

Ned Wynkoop and the Lonely Road from Sand Creek map © Louis Kraft 2010.

OU Press Managing Editor Steven Baker was, and still is, nervous over the last map ever seeing the light of day, much less making this final deadline. Based upon the ongoing problems I have encountered to create a rough draft of it I am hopeful that it will be of benefit to those who read Sand Creek and the Tragic End of a Lifeway. Steven has every right to be a little on edge. I know the reasons, I know them intimately, but I have no intension of sharing them for it would unleash a tirade that none of us want. Now is the perfect time for me to keep my bleepin’ mouth shut. … I needed to calm Steven somewhat, and I had already presented the option of dropping the map from the book, which he shied away from without addressing. I didn’t question his silence. … Bill and I will make our deadline.

Is Kraft cocky? At this point in time, yes. I’ve been in this position so many times over the years (and I’m not talking about just the freelance world) that it’s just another day in the LK world of chaos. My knees aren’t shaking, I’m not walking around in a cold sweat, and I don’t stare with wide-open eyes at the ceiling when I should be sleeping. I have reached the point of deliver or shut up. I’ve been here many times and it is simply taking it one step at a time. I am confident while at the same time know that if I fail now and the book isn’t published that the sun will still rise tomorrow. This is my world, and I’m in my element.

Steven, trust me.

Copyedit
Kerin Tate is my copyeditor for the Sand Creek manuscript. Adam and Steven both highly recommended her. On May 30 she emailed me to inform me that she liked the manuscript, word usage, notes, and was making good progress with minimal changes. Since then we’ve had more contact and all is good. I’m thrilled to be working with her. We’ve agreed that she’d deliver her copyedit to me June 24. Previous to this, Steven had agreed to an extension of my review/edit of the copyedit to August 5, due to events, happenings, and Pailin’s and my now annual Fourth of July open house/party that includes her birthday. Kerin’s delivery is perfect for me and will become my total focus on July 6 (although I will begin working on it after she delivers it).

Years back when I asked a George Armstrong Custer historian (alas, long dancing with angels) if he could have improved his work he replied without batting an eye, “No. My work’s perfect.” Let’s just say no LK comment about his “perfect” work. … I believe that it was in spring 2013 when I spoke at an annual Order of the Indian Wars spring event in Centennial, a suburb (?) of Denver, Colorado. While in the lunch line with friend/historian/writer/radio show host/performer Deb Goodrich—yeah, this lady is multi-talented and I didn’t list all that she does—asked me what I thought about my work. “If I could work on my published writing again,” I said, “I could improve all of it.” This was how I felt then and what I believe today. … History and writing about it is an ongoing process that is in constant change and never ends.

LK w/Deb Goodrich during the evening party after the Order of the Indian Wars Annual Symposium in Centennial, Colo., ended on 20apr2013. I had given a talk about “Ned Wynkoop’s Last Stand” during the event. It is based upon a photo by Frank Bodden. (art © Louis Kraft 2019)

My goal—always—is to bring the leading players to life, make the events jump off the page, and have my readers curse me for they can’t put down the book and the hour is creeping up on midnight. My copyeditors for Lt. Charles Gatewood & His Apache Wars Memoir (2005) and the Wynkoop book played key roles in making this happen. My hope is that Kerin’s copyedit will improve the Sand Creek manuscript while not damaging facts or corrupting Cheyenne words that are correct.

The blog that announces the Sand Creek book publication will also … Gulp … “say it ain’t so,” LK

… but it is so as I hope to feature as many of you that have helped me as possible in that blog. And here, please don’t be like former editor-in-chief of OU Press Chuck Rankin, for if not for him there would be no Sand Creek manuscript or book. My friend prefers to move in the shadows. He couldn’t get away with that with me as I have too many images of him. At the moment many of you are under the radar, and that simply means I would like one or two or three images. Do you have photos of “you” that you could share? If yes, I want them. Here I’m talking about you, and many of you are new to the LK world. Honestly, I really want to publicize your efforts and kindness in the creation of the Sand Creek manuscript and book. As they say … “a photo is worth a thousand words,” so please be generous.

As Sand Creek charges into history LK’s writing future comes into focus

Over the years I have certainly publicized upcoming book projects, and I’m certain that for most of you this has been little more than a lot of hot air. From your point of view, maybe; from mine, reality. What follows is a list, and it is in my current working order. As always, research and more research is behind everything that I write.

Errol & Olivia
Although I didn’t know it Errol Flynn would influence my life more than any other historical person, and it began while I was in elementary school. Flynn introduced me to the American Indian wars, piracy, swords, acting, and most important an openness to people of all races. While still an actor I began to research his life in earnest, and in 1996 decided to write a book about him.

This photo of LK and Olivia was taken on 3jul2009 at her home in Paris. It was an absolutely wonderful day and evening. (photo © Louis Kraft 2009)

My contact with Ms. Olivia de Havilland led to my decision to make it a joint biography beginning with their arrival in Hollywood, being cast in Captain Blood (Warner Bros.-First National Pictures, 1935), their life and times during the eight films they made together between 1935 and 1941 (three of which were westerns). It will include an extended epilogue (similar to Sand Creek and the Tragic End of a Lifeway). Easily 90 percent of the research is complete, but with this said the research is ongoing. As soon as I complete everything that is required of me during the production of the Sand Creek story this will become my number one project. … No more detours

  • Errol Flynn book number 2 (could be book 3)
    By the way, the second book on Flynn will be the best nonfiction book I write. Certainly this research is underway, but a lot more needs to be completed. This will begin in earnest as soon as the Sand Creek copyediting, my reviews of the designed  book pages, I’m good with the dust jacket design and copy, and I’ve created the index.
  • Errol Flynn book number 3 (could be book 2)
    That’s right, I have three books planned on Flynn and there’s still a chance that I could partner on this book (but in a completely different way); if true, Mr. Flynn will dominate a good portion of the rest of my nonfiction-writing life.

Navajo Blood
This novel deals with an old Diné warrior and his granddaughter during the 1863-1864 timeframe of the Kit Carson Navajo campaign. I have a polished draft, but recently decided that additional information needs to be added to the manuscript. The goal is to stay true to history while making the characters (real and fictional) come to life. My pitches will begin this year.

  • Untitled Kit Carson nonfiction book
    Primary source research is certainly underway for creating a book about Kit Carson; some of it is already in-house but I need more. If I’m able to locate what I need—and this is mandatory—I’m certain that I’ll be able to complete this manuscript without any of the problems I encountered while piecing all the parts of the Sand Creek story into a readable book. A focused continuation of the research will begin in fall 2020.
    * I haven’t begun to draft a proposal or verbally discuss it with editors yet but this will begin as soon as I have all the required research in-house, and I know exactly what I intend to use. … If I can’t find what I believe exists I will extend the scope of the story. For the record I have all the published books on Kit that are worth a damn and way-too-many that aren’t. … As soon as I’m satisfied with my primary source material I will draft an in-depth proposal. As with my previous nonfiction work this book will not be like any others in print.

LK Memoir
I’ve hinted at this for a long time, and both the research and the writing in various forms has been ongoing. Just look at the blogs for they represent some of my digging into the past, but, alas, I have shied away from the incidents/events that if published or made public at this time would cause me to ward off an invasion on Tujunga House by hooded assassins bent upon shutting my mouth for all time. It will be juicy, funny, fast-paced, and truthful (with documentation to back up what I state, something that you usually don’t see in memoirs).

The pirate Francis Drake … fiction and nonfiction
I have an incomplete fictional draft of Drake’s early piratical days that has a lot of promise.

As you can see, LK has been wielding a blade for sometime. (photo © Louis Kraft 1958)

I also have all primary and secondary sources on Drake published since the beginning of the 19th century (and much of the primary source material dates to the 16th century). Looking at the above writing projects this might sound like wishful thinking on my part. For the record Mr. Drake was light years ahead of his time, which was dominated by racial and religious prejudice and hatred. … What can I say other than I’m an optimist. For some of my views on El Draque, see The pirate Francis Drake and LK.

Various fiction projects
This ranges from Chinese fishermen in Monterey, California, during the 19th century … to modern-day Anasazi cannibalism in New Mexico … to bootlegging on the Navajo reservation … to a continuation of the two leading fictional characters introduced in The Final Showdown (1992) and their relationship with the Cheyenne Indians during the latter part of the 1860s.

Decades ago while doing research in the Monterey Peninsula, California, I discovered a photo shop/lab in Pacific Grove and spent the afternoon talking to the gentleman, who if my memory is good was a photographer/owner of it. He specialized in the Asian (mostly Chinese) presence on the California coast in the 19th and 20th centuries. Many of the photos he showed me that day I have since seen printed in books. Hopefully he is still with us, and if not hopefully his quest to preserve and share history from that time continues to live on. That day and afternoon has never left me and I have gathered as much reference material as possible (mostly academic) over the passing years knowing that some day I hope to write about the Chinese experience on the California coast. The California Historical Society call number for this public domain image is FN-22407.

All are outlined, in draft form, scripted, or partially written. I have played down fiction, but this doesn’t mean that it isn’t a medium that I would have any problem returning to full-time.

A slight change of subject, but it is related to LK writing fiction. And it is one that hovers in the shadows of my life on a daily basis. Mainly, will Pailin and I continue to be able to survive in Los Angeles? The cost of living is high, and I hate to say it but it increases almost monthly. California has become the land of the rich.

David Horsey is my favorite political cartoonist, and in this simple image he nailed the Pacific Coast (California, Oregon, and Washington) real estate market. … Simply put middle- and lower-class Angelenos are being taxed out of existence. We’re paying millions and billions for 1) Statewide gasoline taxes (by far the highest in the USA) to improve the roads (I invite you to LA to experience our roads, for it will make you feel as if your driving off-road in a third-world country). I don’t want to discuss this joke other than to say that in LA city hall is removing lanes from pot-holed (and in some cases repaved) streets with the magnificent logic that if they increase drive-time to work—let’s  say from 30 minutes to 45 or more minutes in bumper-to-bumper traffic to drive two or three miles to reach a freeway, which isn’t moving, they’ll force everyone to use public transportation. The farce doesn’t stop here for we are about two years away from being charged $4.00/day to drive into certain areas in Los Angeles County, including the Westside of Los Angeles (Westwood, Santa Monica, Venice, Brentwood, and West LA). Pailin drives there six times per week. Do you realize how many buses she would have to ride, how many subways (southeast to Hollywood and farther east to transfer to one going south to then connect with a westbound subway that will travel much farther west than from where she started her day, which won’t get her close to any of her destinations) twice daily (she has to return home)? Not to mention that she gets off at night. 2) For the homeless, which in LA increases by the year and on the week of June 3rd the LA Times announced that it is now just a few hundred short of 60,000 with somewhere around 20,000 housed. $1.2 B in the last three years. Where is all this money going? 3) Over the years the Los Angeles County School Board (the second largest in the country) has been dysfunctional, and the district is one of the worst in education achievement in the USA. Management at the top of the school board earn more than the governor of the Golden State, which I suppose gives you a good idea where some of this money ends up. There have been two tax increases in the last two or three years, but in 2019 greed took center stage yet again. On Tuesday, June 4, we voted down a new tax for the school board. This one would have levied a $0.16 tax on every square foot of building space in Los Angeles County. Yep, on every house, apartment building, condo, gas station, grocery story, movie theater, office building, factory, car dealership, hospital, ad nauseam. Put simply, that is an additional $160 tax dollars per 1,000 square feet of building space. I think it would be safe to say that the cost of everything in Los Angeles would go up. Horsey’s cartoon is right on target for a problem that is worse today than when he created it. A neighbor’s 800 square foot house sold for $650,000 earlier this year. About 20 people live in a 1200 square foot house including a converted one-car garage nearby (the adults all work and the young children all go to school except for one little girl). For the record the two bedrooms and living room have been divided into cubicles similar to what you would see in software office buildings. The Times article also pointed out that a lot of those living in their vehicles—that is homeless people—are working but can no longer afford housing. (art © Horsey and the Seattle Times 2018)

To repeat myself California has become the land of the rich, the poor, and the vanishing race once called the middle-class. Supposedly if California seceded from the United States it would become I believe the sixth largest economy in the world. This is not a joke and it is something we have to deal with every two or three years when rich clowns (read billionaires) spend a lot of money to make this reality. In two previous attempts to create the new country of California, it had been divided into three states and then six states.

I know the answer and without knowing it so do you (but you won’t admit it).

Due to the turmoil that seems to be a daily occurrence in the Golden State I have logged many hours trying to remain in the USA while also exploring becoming an expatriate.

In 2018 a person I considered a friend called me a renegade to our country, damning me as he didn’t agree with my views on our country’s current policies (which for the most part I avoid sharing, and wasn’t discussing when he slammed me).

For the record LK fits in wherever he goes. Here I’m dancing with Not (left, Pailin’s sister) and Pailin as we approach Wat Phra That Lampang Luang, a Temple in Lampang, Thailand. (photo by Daranee Kosin and © Daranee Kosin, Not Subanna, Pailin Subanna-Kraft, & Louis Kraft 2014)

Being short of cash didn’t count—just looking into living offshore turned me into a traitor or worse. Regardless of which is true, I guarantee that one thing won’t happen. I’ll never become a homeless person. I know a lot of them personally, and my heart sheds tears every time I talk with them as I can’t help their situation. See Horsey’s cartoon, above, for housing is one of the major culprits (along with LA Mayor Eric Garcetti, who talks a good story while sitting on his ass and dreaming of becoming president of the USA).

LK’s office in Uttaradit, Thailand. (photo © Louis Kraft 2014)

The point I’m trying to make is that if Pailin and I are forced to relocate to Thailand or New Mexico or Costa Rica or Arizona or Spain or elsewhere these and other story ideas will find a life of their own as my fingers dance over the keyboard and my fictional world explodes with life.

I know, the above is a shocking mouthful. … So is ‘Stayin’ Alive.’

High Noon (1952) Elmo Williams’ Oscar, UNM, Tomas Jaehn, and Errol & Olivia 

Let’s start with Tomas Jaehn, formerly of the Chávez History Library, Santa Fe, who in the early part of this century created the Louis Kraft Collection AC 402 & AC 010 for photographs.

LK with Tomas Jaehn after a talk on “Edward Wynkoop’s 1867 Fight to Prevent War” at the Chavez History Library, Santa Fe, N.Mex., on 15sept2004. (photo © Louis Kraft & Tomas Jaehn 2004)

The last two deliveries to the LK Collection have not been catalogued and the archive has not been updated. I’ve begun to prepare next delivery that will happen after Sand Creek and the Tragic End of a Lifeway is published. It will consist of two books, including The Discovery (2016), magazine articles, and talks, along with personal correspondence and additional photos and art. Access to the archive is by appointment only. Contact Heather McClure at 505.476.5090, heather.mcclure@state.nm.us. This delivery will happen at an undetermined time when I travel to New Mexico. … And it will be huge, including a lot that I have not announced.

LK and Olivia de Havilland talking about her life, Mr. Flynn, and important subjects that both of us brought up at her home in Paris on 3jul2009. During both of my visits to France our conversations were lively and full of information that also included world events and USA politics. Without hearing her view of Mr. Trump I know exactly what it is. She is a lady, does not use foul words, so if she ever shares it with me it will be printable. (photo © Louis Kraft 2009)

For the record once Errol & Olivia is published the Kraft Collection will also contain research, drafts, correspondence, and other material related to the creation of the book including the Kraft-Olivia de Havilland correspondence over approximately twenty years. Some of OdeH’s letters were hand-written while others were typed, and I assume by her then secretary but signed by her (meaning that I perhaps have more of her autographs than everyone else put together if we don’t count sports stars). During my two visits to Olivia’s home in Paris, France, she had two different secretaries. Both were young American ladies. To learn a little more about Livvie, as Errol Flynn called her, see Olivia de Havilland, a world treasure.

In 2006 the Academy of Motion Picture Arts and Sciences (Beverly Hills, Calif.) announced that it would honor Olivia that June.

Some people I thought were friends came out of the woodwork and demanded that I obtain tickets to the event for them. I told them that I was not going to ask for tickets for myself and I wouldn’t for them. Whoa baby, did I ever unleash a swarm of hatred directed at me via phone and email. The words were scathing; actually they were much worse. I ignored them, but those relationships didn’t survive. … Oh, there was still some connection with a few of the people but it never revived the past. One Flynn expert, and we had shared a lot of information over the years, became the most venomous toward me when I refused to help him obtain a ticket.

For the record OdeH invited LK to attend her gala, and it was some event.

The Flynn expert succeeded in obtaining a ticket and also attended. Surprisingly we spent a good part of the evening together. We even sat together while Olivia was honored on stage by the late Robert Osborne (former host of Turner Classic Movies). We enjoyed each other’s company that night, but we never spoke again. He died a few years later and his incomplete manuscript was never published (and I have insider information on why; this is something that I’ll never share without permission). No comments here; none whatsoever. He is gone, and so is why he failed so see his Flynn manuscript(s) through to publication.

Back to Tomas Jaehn

Tomas is now Director, Special Collections/CSWR, University of New Mexico Libraries. We see each other whenever he is in LA or I’m in Santa Fe. Always good times. During his last visit to Tujunga House in summer 2018 we talked about a lot of subjects including an upcoming event at UNM.

Standing in front of a cutout of Gary Cooper as former marshal Will Kane in the classic 1952 film, High Noon, Tomas Jaehn holds Editor Elmo Williams’ Oscar for the film. With him is Topiz, a UNM student employee who Tomas “asked to watch the Oscar during the event.” (photo © Tomas Jahen 2018)

Tomas is good at having fun with words. When he sent me the above image he called it an attachment of an ‘Albuwood’ or ‘Hollyquerque’ ‘pic.'” Love it!

The second showing happened on 1nov18, and Tomas had this to say: “Second showing of the Oscar was a blast. Folks loved it and commented on ‘how heavy that thing is.’ (A phrase that I hear every time I watch the Oscar events).”

Tomas also mentioned that UNM has Michael Blake’s papers. Novelist/screenwriter Blake became a good long-distance friend of mine for many years. He won an Oscar for his script Dances with Wolves (1990). This film has been on my film list and it has been off. There is a chance that it might be on again (but at the moment is still off). I need to watch it a few more times, if for nothing else than to enjoy Wes Studi* and Graham Greene’s performances. If yes, I’ll talk about Michael. See the section “Michael Blake, a special person and writer” (the second section) in The Louis Kraft writing world differs from other writers’ worlds for some of my views of him and of our relationship. Damn do I miss him.

* Wes Studi news flash!

On June 4 the Los Angeles Times (Calendar section, pE3) announced that Wes Studi would be awarded a special Oscar for his contribution to film over his career. Wow! The Times mentioned Last of the Mohicans (1992), Geronimo: An American Legend (1993) (see 1st fifth of a Louis Kraft 50-film list), Hostiles (2017), and Dances with Wolves (1990), among some of his other films.

A scene during Hostiles wherein Jonathan Majors is a member of the military detail that is escorting Sioux war chief Wes Studi from the south to the north so that he can see his homeland one final time. For those of you who haven’t seen the film, like the LK/Goodman novel this film’s title is misleading in that you must see the story through to its conclusion to know what the story is really about. LK personal collection.

These awards used to be presented during the live telecast at the beginning of each year but no longer. To save myself time I’m quoting the article: “The Board of Governors of the Academy of Motion Picture Arts and Sciences announced Monday that it will present its annual honorary Governors Awards to director David Lynch, actor Wes Studi and director Lina Wertmüller, while actress Geena Davis will receive the Jean Hersholt Humanitarian Award.” The Oscars will be presented at the Governors Awards ceremony on October 27, and although not mentioned I assume at the Academy of Motion Pictures and Sciences on Wilshire Boulevard in Beverly Hills, California.

Finally Mr. Flynn & Ms. de Havilland or more precisely …

I love the art for this magazine cover from January/February 1979 (unfortunately the journal no longer exists). I know who the staff artist is/was but have no contact information. This art would work nicely for the dust jacket of Errol & Olivia. … Research continues. If you know who or what institution/company owns the copyright of this art please contact me.

Errol & Olivia.

For all of you who have been patient, for all of you who have liked my talks and articles that dealt with them, your time of waiting is nearing an end. Although research on Errol & Olivia has been ongoing writing has been almost nonexistent the last half dozen years. I’m sorry but that is just a fact of life as I had to deal with completing Sand Creek and the Tragic End of a Lifeway to my satisfaction. It will turn a portion of the current literature upside down. … You know what? So will Errol & Olivia. No joke.

You probably think that this is just another LK piece of prose to keep you hanging on. No. Trust me, and I would never say this unless I meant it.

This photo was taken on the same day as the image at the top of this blog. I don’t remember the actress’s name (and unfortunately I didn’t write it on the back of the 8x10s (someday I’ll pull my book of days from the 1982 taxes; I’m certain wrote about her there). We were beginning to rehearse the routines that would be in the swashbuckling one-acts. She was good with the blade and I liked working with her. Alas, she had a conflict with the evenings when we’d rehearse and perform and dropped out soon after this photo was taken (my loss). LK knows the sword, beginning while in junior high school when I studied with U.S. fencing Olympian and film dueling choreographer and stunt double legend Ralph Faulkner at his Hollywood Blvd. studio. I later was asked to join the CSUN fencing team during my first year at the university (I fought competition sabre), and later studied swashbuckling (stage combat), which is always done little protective gear (mainly knee and elbow pads). It is perfectly safe—yeah, right Kraft, as long as you don’t loose an eye. Trust me, it’s safe, for it is just like dance and every offensive movement with the blade has a unique number, while the duelist on defense has a corresponding number to parry (block) the attack. (photo © Louis Kraft 1982)

For those of you who don’t know, the American Classic Film: The Journal of America’s Film Heritage cover art is of EF and OdeH’s first film together, Captain Blood. It became a major hit and turned Flynn into a superstar over night (the term didn’t exist in 1935) and de Havilland into a star.

Captain Blood was the first of nine Flynn swashbucklers; four of which would become classic films and the best four examples of the swashbuckling film genre to this day.

To repeat what I said in the American Classic Screen cover image above:

“If you know who or what institution/company owns
the copyright of this art please contact me.”

If the owner/copyright holder allows me to use the EF & OdeH Captain Blood art by then journal staff artist John Tibbetts (1978), you will receive my eternal gratitude along with a first edition of Errol & Olivia when it is published.

If you supply me with the owner/copyright holder of Mr. Tibbetts’
art and I fail to obtain the required permission I need you
will still receive a first edition of Errol & Olivia.

(For the record I already own the cover art for the second Flynn book.)

The goal is to be back to writing Errol & Olivia full time sometime in early 2020. Heck, that’s just around the corner. As I have a little over 60,000 words and am shooting for 125,000 words, I’m roughly halfway to a first rough draft. I’m not joking about Errol & Olivia being different for it won’t be like any joint biography that you’ve ever read and you can take that to the bank. ‘Course if you bet on this and win a goldmine don’t forget that your ol’ pal Kraft, who gave you insider information, would appreciate some of your winnings.

Three LK “long walks” in 2013 and 2015

These three years represent a sad time for me as I walked away from
what has been a major part of my life for decades.

The end of a big part of my life that wasn’t a loss

LK answering questions after speaking about “Errol Flynn, George Armstrong Custer, and a Lady called Livvie,” before the Custer Battlefield Historical and Museum Association, in a Hardin, Montana, movie theater on 25jun2011. (photo © Louis Kraft 2011)

In 2012 I stopped writing for the software world. It was forced but I was good with what happened (other than the lying manner of the presentation). Don’t get me wrong for I have had a lot of great memories, and have certainly known a lot of wonderful people from all over the world, in a fast-paced industry that took no prisoners. Put simply, you delivered on deadline or you might walk the plank. Heck, that’s not completely true, for sometimes even if you did deliver you might still end up walking the plank.*

* Walking the plank is a piratical term. When a corsair captain and his crew decided to eliminate a member of their brethren or a prisoner, at times the unfortunate person was forced to walk on a plank that extended from the side of the ship until they stepped off it and dropped into the sea or ocean, only to sink into the depths until they met Davy Jones and his locker and became his slave throughout eternity.

This impacted my life in a major way, as I knew it would, for I had made the decision to not rejoin a world wherein I made six figures per year. … It wouldn’t take long before I felt the crunch on my wallet. Still, I refused to do an about-face and rejoin the self-imposed world of slave labor (again, Yahoo! and Oracle were not and never were a part of this equation when I wrote for them).

No longer a cold-hearted gun for hire, I was free. Free at last to spend all my time writing about what was important to me.

2013: Adios cowboy; no more talks
But things would happen. Suddenly, and without warning, I needed to pay half of an operation that I didn’t know about until after the fact. By this time I knew that there would be no more talks. Some talks paid a lot of money and all expenses (and I certainly enjoyed my connection with these organizations) while many groups that I wanted to speak for paid peanuts (meaning that when I spoke for them my loss could be $1,000; no big deal in the past). There were talks I wanted to deliver in 2013 and I gave them regardless of how much it cost. Good times, times that I dearly miss to this day.

2013: Adios cowboy; no more research at a great archive
This year also marked the end of my research at the USC Warner Bros. Archives in Los Angeles, California. By this time I was in a position wherein I didn’t need to return to the archives as I had enough primary source material to complete Errol & Olivia. Still, if you know me the research is always ongoing right up until publication (and usually lasts much longer as articles and talks follow). However, this ending was never permanent as I intend to do a lot more writing about Mr. Flynn. … More, I’m always big at going back and checking what I have for accuracy along with seeing if I might have missed anything.

2015: Adios cowboy; no more magazine articles
Another part of my life came to an end two years later. I never lost money here, and often I made additional fees based upon the photos/art/woodcuts I supplied and once in a while earned cash from my rough drafts of maps. This also included reselling photos, woodcuts, and my art to other publications. But the days of pushing these sales also came to a halt with me walking away from writing for magazines.

The reason was simple

Time. I needed time to complete two books.

Cover art and book design for The Discovery © Louis Kraft 2016.

A medical-legal thriller that I partnered with Bob Goodman, one of my physicians, who had a great premise that dipped into the depths of hell. I began the project as a consultant making good money, which quickly paid for the operation. I marked the hell out of his incomplete manuscript, provided edits and instructions on how to fix the text in detailed review copy, and in person during many meetings. My job completed I walked away from the intrusion and returned to the Sand Creek manuscript. My manuscript included finding primary source material while taking multiple types of people, their goals and biases, and merging a miasma of people and attitudes into a story that flowed easily between race and desire and selected actions by key players.

There was one problem, my Sand Creek manuscript suffered from the same malaise as the Goodman manuscript—it was all over the place with no focus, no sense of scope, and worse there was an endless listing of information that was useless in its current state. Honestly, both manuscripts were pieces of crap. … Then Bob Goodman presented a proposal to me that I was going to refuse—become his partner and write the book—until I realized that both manuscripts had the same defect that would destroy them. Simply put: If I could fix the thriller I would have a blueprint on how to fix the Sand Creek manuscript, which, unlike The Discovery that extended over two decades, was well over a century.

Talks, articles, & the USC Warner Bros. Archives are no longer on forced hiatus

Oh yeah, a time of joy is about to return to Tujunga House. I’ve begun to pitch two things that I love but had exiled to “Neverland” and will later this year or early next year I’ll return to a magnificent archive. It will take time to resurrect my past from its long slumber but the process has begun.

Potential Talks
Washita Battlefield NHS (Cheyenne, Oklahoma)
Beginning a little over a year ago I introduced myself to Kevin Mohr, chief of interpretation and operations at the Washita Battlefield NHS. It would be the first of many talks and emails as we discussed the Sand Creek manuscript and Custer’s attack on Black Kettle’s Cheyenne village on the Washita River on 27nov1868 and its impact on the Cheyenne and Arapaho lifeways. I can’t begin to tell you how open and friendly Kevin has been with his input to my needs (if you read the book you’ll know what I’m talking about), but again “mums” the word on what you will see on these blogs before the book is published. I love teasing—just ask Pailin—but I’m not playing Mr. Tease here.

Former Sand Creek Massacre NHS ranger Craig Moore leading a tour of the upper portion of the Washita Battlefield on 6dec2008. I joined it, and to his displeasure spoke up during the tour when he passed certain areas without discussing them. Of major importance was the mound that Lt. Col. George Armstrong Custer used as his observation post during the fight, which still partially exists. I refused to accept this silence, halted the moving program and informed everyone of Custer and his actions to protect non-combatants that he viewed as disobedience of his orders. This was not the beginning of a sparkling relationship, still years later Craig kindly attempted to help me locate information that had since been buried by Oklahoma law and blocked from viewing by historians. … This Washita Battlefield NHS extended symposium was a big event for me as I both played Wynkoop on stage and spoke about him during it. (photo by Leroy Livesay and given to Louis Kraft with full permission to use it)

Some of you know a little and some of you know a lot of about the lead-up to that tragic November 27 day, what happened, and the aftermath. Some of you don’t know anything about this time. Whichever camp you’re in I’ve decided that I now want you to read the book with no more giveaways by me. I want you to experience it for the first time and not mumble as you turn pages that Kraft already told me all this.

Without giving too much away this portion of the book is of major importance to the Cheyennes and the Arapahos.

LK and Cheyenne Chief Gordon Yellowman after a day of talks/presentations ended at the Washita Battlefield National Historic Site two-day symposium on 7dec2011. We met in 1999, and since have crossed paths numerous times, the last being this year. With the publication of Sand Creek and the Tragic End of a Lifeway in 2020 we will be linked throughout time. I can’t begin to tell you how thrilled I am. (photo by Joel Shockley for the National Park Service).

A Ned Wynkoop one-man show has had two performances at the Washita and I’ve given two talks there. Obviously I want to return to this special land. In my opinion it, along with the Sand Creek Massacre NHS (Eads, Colorado) and the Cheyenne-Dog Man-Lakota village site (35 miles west of the Fort Larned NHS, Larned, Kansas), are three key sites in Cheyenne history. There are certainly many others including the Little Bighorn Battlefield National Monument in Montana; the Battle of Summit Springs (near present-day Sterling, Colorado) where Cheyenne Dog Man Chief Tall Bull died on 11july1869; and the Battle of Beecher Island where the great Cheyenne war leader Roman Nose died on 17sept1868 (the last two sites I’ve not seen). … In May of this year Kevin opened the door to me returning to the Washita to present a talk combined with a book signing. I’ve already mentioned two ideas to him, and for the record I won’t be talking about the battle. Hopefully we can make this happen in 2020.

Tomas Jaehn, University of New Mexico
Those of you who know about my writing/talking history may be familiar with Tomas.

From left: Pailin, LK, and Tomas Jaehn in the Tujunga House dining room on 2aug2018. Good-good times, and I wish that Tomas could have had a longer stay. Regardless of what happens with an LK talk at UNM one thing is certain, I’ll see Tomas and his family in 2020. (photo by Pailin and © Pailin Subanna-Kraft, Tomas Jaehn, & Louis Kraft 2018)

What follows is repetitious, and that’s okay for he’s become a great friend over the years, and one I always enjoy discussing any subject in our worlds. He is responsible for creating the Louis Kraft Collection in 2002. I’ve spoken there twice. Believe it or not we both put a lot of effort into an attempt to bring the Ned Wynkoop one-man play to Santa Fe. I should talk about this sometime, but not here. … Tomas has since moved on to a cool position at the University of New Mexico in Albuquerque (see above). Well, I guess you know where this is going. We have been tentatively going back and forth about an LK talk at UNM. Although below it may appear that I’m being too picky on where I want to place a Sand Creek Massacre article, this isn’t the case. The reason is simple: For me to show what happened on those two tragic days I need more words than most publications will allow and I don’t what to shortchange this important subject. … If Tomas and I can agree on what I intend to say (and it will be explicit) along with a date that is good for both of us after the book is published this is a talk that I want to give in Albuquerque.

Articles
Stuart Rosebrook, True West Magazine editor
Stuart and I connected on LinkedIn in 2018 but I don’t know if we’ve ever met. In May we shared a number of emails, which alerted him to the upcoming Sand Creek book publication and of my desire to again write for magazines, which caught his interest. Since then we’ve had a long talk on the phone to discuss this, writing for True West, and we weren’t talking about a one-time article but continuing into the future. Stuart was immediately interested in an article on the Sand Creek Massacre but I told him no, that I needed a lot more words than the 1500 maximum word count for the magazine.

In the coming days we’ll spend more time talking about LK story ideas that might be usable. Trust me, I have plenty of ideas bouncing around in my head. Most are related to the Sand Creek story, but there are others from the other side of my writing world that may grab his interest. Time will tell.


For the record I think that the best place for a Sand Creek Massacre feature might be in American History or MHQ (The Quarterly Journal of Military History). I’ve written for both and have had good experiences in the past. These pitches are in the works.

At right is the cover for the February 2008 issue of American History. The cover story was a comparison of Errol Flynn’s George Armstrong Custer in the Warner Bros. 1941 film, They Died with Their Boots On, and the real George Armstrong Custer. To date I consider it the best article that I’ve ever written. In 2008 it became the best-selling issue of the magazine (I don’t know if this is still true). For the record I campaigned to have Flynn also on the cover. This was one battle I lost, but ended up pleased with the art director’s choice. Here’s a few words to those of you interested in Mr. Flynn, Mr. Custer, or both of them, obtain the magazine (if possible) for the article may be of great interest to you.

Archives
Jonathon Auxier, USC Warner Bros. Archives
Beginning around 1995 the USC Warner Bros. Archives (Los Angeles, California) has been a mandatory destination of mine. I can’t write another word without saying the following: I have researched in a lot of first class archives over the years but none of them have come close to comparing to the USC Warner Bros. Archives. Over this time many have helped me at this magnificent archive, including Randi Hockett (director), Haden Guest (Curator), Noelle Carter (Director), Sandra Joy Lee (Director; I can’t remember her married name), and Jonathon Auxier (Curator). There were others but I can’t remember their names.

Jonathon was day in, day out light years above all of the archivists and directors at the USC Warner Bros. Archives. He always had a positive attitude, was extremely knowledgable and this is an understatement (in an archive that was so large that it had to be overwhelming to everyone that worked there, not to mention the by-appointment only researchers), and even better for I can’t tell you how many times he went the extra mile for me.

This is Jonathon Auxier near the end of our lunch at Le Pain Quotidien on Riverside Drive in Burbank, California, on 26apr2019. Good times as we talked about the past and our futures. A number of years back he left the archives for a terrific position at Warner Bros. (photo © Jonathon Auxier and Louis Kraft 2019)

One example will show just how knowledgeable Jonathon was and how willing he was to go that extra mile. There was a key event in the Errol Flynn-Olivia de Havilland relationship during their time with Warner Bros. I knew it happened but couldn’t find anything related to it at the archive. I explained exactly what I needed to Jonathon. He dug in and within days found the information I coveted. It became the spine for a talk I did about them perhaps 14 years ago or perhaps less as I’m not certain when Jonathan began working at the archives. No matter for the talk was a hit; so much so that I decided never to share this subject again. I immediately added the information to the Errol & Olivia manuscript. While polishing it I carelessly had a draft lying around when a Flynn friend who thought he knew a lot more than he actually did visited. He was a person who bought into whatever he read, proven or not (unless it was negative or debunked) and propagated clichés. While I was preparing dinner he saw it and began to thumb through the printed draft, but luckily asked what he was looking at. This brought me running to the rescue. I brushed it off as me playing with thoughts and words and nothing more. He bought what I said and the subject was closed. Over the years Jonathon has found other pieces of information that I needed but couldn’t find.

Back in those days it used to take me on average of between 20 and 25 research days to get through one box that dealt with a particular film. The Adventures of Robin Hood (1938) had two boxes and it felt like forever to get through both boxes.

Jonathon has became a friend, mostly long distance although not many miles separate us, and this year we have made an effort to bring our friendship into the here and now. Good for me, and hopefully for him.

I will continue to use other archives for Flynn/de Havilland and Carson/Indians,
but I see no need to share them at this time.

Just so you know I’m singing an Alan Jackson song as I dance into my future.
Or will it be John Lennon, or Michael Parks, or Patsy Cline, or Rhiannon
Giddens, or Waylon Jennings, or Tex Ritter, or Laura Brannigan,
or John Anderson, or Willie Nelson, or Rihanna, or Elvis
Presley, or Rita Coolidge, or Kris Kristofferson,
or Norah Jones, or Bob Dylan,
or Yoko Ono?

Sand Creek Massacre, Kit Carson, Pailin, & good friends

Website & blogs © Louis Kraft 2013-2020

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


Warning: This blog is long.

This blog has preempted the “Future Blogs List” as it is based upon a 19-day research-discovery trip that Pailin and I took recently to Colorado, New Mexico, and Texas. As Pailin now has her Green Card she is free to travel the United States, and as she is an explorer, this was a trip that hopefully she enjoyed. She got to see a lot of land she had never seen before, got a taste of what I do, and better yet became my assistant. I told her at the beginning of the trip that within five years I wanted her telling everyone about the lead-up to, the November 1864 attack on a peaceful Cheyenne-Arapaho village, and the aftermath of this tragic event. The trip also included Kit Carson research in Santa Fe, Taos, and the Bosque Redondo Memorial (Fort Sumner) in New Mexico. There was also a tad of Ned Wynkoop research; hell, we were in two of his three key areas in the West during the trip. Finally Pailin got a surprise Errol Flynn physical examination of the El Rancho Hotel, a national historic site in Gallup, New Mexico, where Flynn and the Rocky Mountain (1950) film crew stayed while they shot the film’s exteriors in the area. … But this trip was also about seeing good friends, introducing Pailin to the western landscape, looking at property in Eldorado (Santa Fe, N. Mex.), and making a delivery to the LK Collection at the Fray Angélico Chávez History Library (Santa Fe).

Colorado here we come

The trip began on 28sept2014 and it was a long drive that took us from North Hollywood (a town in Los Angeles), California, to Richfield, Utah.

leavingLA_28oct14_ws

Pailin took this image as we drove east from North Hollywood, California, and as the sun began to rise. (photo © Pailin Subanna-Kraft 2014)

During the first day we did detour to The Valley of Fire, which is north of Las Vegas, Nevada, and off I-15. I had been to The Valley of Fire in 2001 after I had sold the idea of a Ned Wynkoop one-man show to Kansas.

lk_NW_collage_2001&2002_ws

The image with the white hat was taken at The Valley of Fire in Nevada.

I had pitched the Wynkoop one-man show idea to Leo Oliva, who was already bringing me to Kansas to speak (and I’m certain that George Elmore, now chief historian at the Fort Larned NHS, played a key role in this important stage of my life). Leo had asked for a publicity shot.

Of course when a friend saw the publicity shot in a publication, he complained: “What the hell is this? Wynkoop didn’t dress like that!” I don’t think I calmed his anger with my reply.

valley_ofFireCollage_28sept2014_wsOnce we got out of Nevada the landscape improved. Utah is gorgeous. We turned right onto I-70 and halted for the night after about 37 miles.

The second day started out nicely in Utah, and again the landscape was beautiful to behold. But soon the easy climate began to change. It started out with showers mixed with sunshine as we cruised through the eastern side of Utah and closed on Colorado.

I-70_intoCOLO_end_ofColor_psImage_29sept14_ws

After entering Colorado I got my usual welcome: Weather headed straight for the deep freeze. It is almost as if I have become a marked man in the state. If Kraft crosses our border, chill his bones until he leaves. Pailin took this photo from the window of the Vette as we cruised eastward on I-70 (she took many photos through the windshield and the right window during the trip). This image captured the beginning of the end of color for the rest of the day, and we hadn’t reached the noon hour yet. (photo © Pailin Subanna-Kraft 2014)

At Grand Junction, Colorado, it turned cold and a downpour that lasted close to three hours struck. It was downhill from there, and looked like a repeat of the last two or three times I have visited Colorado. After we closed on the Rocky Mountains the temperature began to drop at an alarming rate. Rain clobbered us and stopped only to hit again minutes later. The temperature reached 37, 36, 35, 34, and then 33 degrees.

ColoRain_29sept2014_psImages_collage_8x10_ws

Pailin’s photos remind me of James Abbott McNeill Whistler’s nocturnes. He, along with Vincent van Gogh, are my favorite artists.

Snow began to fall. Thirty-two degrees. Ouch! This was not what I wanted to see. The traffic continued at a frantic pace. Soon the three lanes shrunk into one for construction, but there were no construction workers. And soon after the traffic came to a halt. We passed a sign that proclaimed, “When lights flashing chains are required” (or something like that), with a $500.00 fine if not obeyed. I’ve never seen a chain up close in my life. And soon after the traffic came to a halt. It did not appear to be for construction; an accident? Time crept forward, perhaps 30 minutes as we inched forward. We passed another construction zone but no one was working. The snow stopped falling and the temperature zoomed up to 37 degrees, but we came to a halt again a short distance in front of the Eisenhower Tunnel (there is more to the name). I called John Monnett and left a message that we were going to be late as we were expected at his and Linda’s house (I had anticipated arriving by late afternoon). Soon after we got through the tunnel the traffic jam vanished and I-70 returned to being a speedway (I have never seen so much tailgating as I have seen in Colorado on this trip). I guess everyone wanted to get off the mountain before they shut down the road. (John informed me that they don’t shut down I-70 in the fall; rather that Colorado drivers are the worst).

A short while later a ray of sunshine stole into the mountain pass, but it only lasted for a few minutes. There was no rain and the temperature reached 39 degrees and then 40. I breathed and said a silent prayer. We’ve made it. Somewhere the road grew to three lanes, and I even felt comfortable showing what my car could do (I say this fully knowing that its body is very light and it can become airborne). At the same time my goal was getting Pailin to John and Linda’s house safely.

COLO_29sept2014_apr2013_ps-k&lkCollageAll was looking good, when the snow returned with a vengeance. Visibility dropped to about 30 feet or less, and—thank goodness—the traffic slowed. Hell, they were forced to slow. Soon the three lanes closed into one for construction, but again there were no construction workers (I’m glad that they didn’t have to work in this weather). And of course the traffic came to another complete halt. We sat there and watched the temperature drop—37, 36, 35, 34, … Oh no! We started to inch forward. The downward spiral continued. Thirty-three, … 32! I hate to admit it, but I don’t know how to drive on ice. I’ve had conversations about this, most recently with my good friend Layton Hooper (2013) who just this year moved from Colorado to Arizona (and I think I know why). But knowing something (at least thinking you know something) and doing it are two different things. If it were just me, I’m good and know that I’ll survive (experience has backed this up many times in the past), but I’ve got Pailin with me. Caution and driving safely were the only things on my mind.

After reaching 32 degrees the temperature stayed at 32. We approached a tunnel and it was closed. A detour road swung to the right of, and around, the tunnel and when we reached the other side of the tunnel the road again opened into two lanes.

Soon after the snow stopped falling. We had downpours of rain, and I kept in the slow lane, but the temperature again grew. Within minutes it reached 40 degrees and never looked back. I-70 got out of the pass, and even though the downpour continued we made good time until we closed on Denver and then Lafayette.

ps&LadyJaneGray_lk&Wellington_collage_wsVisibility remained bad, but after a couple of missed turns we arrived at John & Linda’s house. Just as I was about to push the door bell my cell phone rang. It was John trying to find out where we were and if we were okay. Linda opened the door and Pailin and I met a lady I had been looking forward to meeting for a long time, and John and his lady met Pailin. It was early evening on September 29. I liked Linda immediately.

The night passed easily as Linda prepared a terrific meal and we hung out for a few hours. Pailin is shy, and there is a reason for it, but she was thrilled over meeting John and Linda.

Some background on John and this trip

John Monnett is one of the top Cheyenne wars historians writing today. We had met years back. Somewhere, and it was most likely at a western history event. We knew each other and liked each other. We had both spoken at an Order of the Indian Wars symposium in Centennial, Colorado, in 2010, and at a party afterwards we hung out and got to know each other. From then on our friendship grew. Previously John had provided me with a great peer review of the Wynkoop manuscript (Ned Wynkoop and the Lonely Road from Sand Creek, OU Press, 2011) and later a top-notch peer review of the proposal for what will be my next Indian wars book (working title: Sand Creek and the Tragic End of a Lifeway, OU Press). When I told John that after Pailin had her Green Card that we would be making a trip to Colorado, New Mexico, and Texas, he invited us to stay with him and Linda.

Research and hanging out with John and Linda

As most of you know my next book will deal with the people who lived through the events that led up to the attack on the Cheyenne-Arapaho village on Sand Creek in Colorado Territory in November 1864, the attack, and the aftermath. You also know that I write about people. I am now faced with a much larger task of making more people leading players and at the same time connecting them to the supporting players while maintaining a flow in the manuscript. This task is massive. Who, where, when, … while showing and not telling (a key to any writing). The goal is to transition smoothly between the players and the events. Doable? I have every intention of making this happen. If I fail my publisher—read my editor and friend Chuck Rankin—will do what he can to get me back on course. If I again fail, “Adios amigo!” I have no intention of failing. Actually this is the best challenge I have ever faced, and I love it.

lk&psCollage_NiwotExhibit_30sept14_ws

While I dawdled Pailin discovered the Wynkoop books in the museum. John suggested that I sign the museum’s books and the Boulder History Museum agreed. This was just the beginning of what John shared with Pailin and LK on this day.

On September 30 John took Pailin and I to a coffee shop he enjoys going to for breakfast and to work. Afterwards he drove us to the “Chief Niwot Legend & Legacy” exhibit at the Boulder History Museum. Niwot (or Left Hand, which is his name that is most known) was a chief of the Arapahos during the mid-1860s). All I’ll tell you about Niwot is that he will be featured as much as possible in Sand Creek and the Tragic End of a Lifeway and that he received wounds during the November 29, 1864, attack on the Sand Creek village and they led to his death. This man stood for peace and had done what he could to hopefully bring about an end to the 1864 Indian war in Colorado Territory (he thought he had succeeded).*

lk&ps&jMonnet_SandCreek_NiwotExhibitCollage_wsThis visit to the Boulder History Museum was Pailin’s introduction to research. Over the coming days I wore her out with what I requested she do, and she would come through admirably.

* Be careful with what you read online regarding Niwot, for some of the supposed factual information you’ll see is flat-out not true. Actually it is wise to heed this advice when researching many of the historical figures involved in the American Indian wars online.

Next up was researching a soldier who had been a member of the Third Colorado Volunteer Cavalry at the time of the Sand Creek attack and seeing the remnants of a stage station that members of Company D of the Third used to travel to Denver to join their regiment as they had not yet been assigned horses. … Pardon my vagueness here, but as books always have word counts if contracted and professionally produced, and as I don’t know what research will be included in the manuscript until I piece it together, at this time I have nothing to share.

ps&jMonnett_FtChambers_BoulderMontage_wsJohn’s next destination was the stage station in Boulder that is currently falling apart. There is hope that money can be raised to save the building for in 1864 troopers that enlisted in the Third Colorado Volunteer Cavalry Regiment in Boulder rode from this stage station to Denver as they had not yet been mounted. Unfortunately the day passed quickly, but John made it both beneficial to my Sand Creek manuscript research and fun for Pailin and I.

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On Wednesday, October 1, Pailin lived through her first day of doing archival research at the Western History Department of the Denver Public Library. Almost everything I looked at was pulled from the DPL’s vault and she served as my official photographer with her iPad as it couldn’t be photocopied. Research is two things: Finding gold and ruling out that the research location doesn’t have what is hoped to be found isn’t present. When working in an archive time is precious and I don’t believe in breaks (that includes when I research locally in Los Angeles, which contains some of the best archives I have ever seen—a major reason why I should never leave LA).

The day was long, but Pailin seemed to enjoy it. I told her that this was just the beginning, and she said, “I’m good as long as I’m with you.”

Rocky Mountain National Park

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Pailin with John & Linda Monnett at Bear Lake in the Rocky Mountain National Park on 2oct2014. It was chilly but we had a good time. (photo © Pailin Subanna-Kraft & Louis Kraft, John & Linda Monnett 2014)

By Thursday, October 2, the archival and museum research work in Colorado had ended. John and Linda Monnett drove Pailin and I to the Rocky Mountain National Park, which was a short drive from their home. Beautiful vistas and landscapes, but surprisingly the area was more crowded than John expected. Luckily we landed parking spots when we needed them.

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Although John had captured me and the snowball I like Pailin’s image better. I played centerfield, 3rd base, and 1st base with my brother on winning baseball teams. We played together for 10 years. When he died in 1990 I quit and never played again. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

John had hoped to get us above the snow line but the roads were closed. There were remnants of a recent snow on the ground at Bear Lake, and as Linda, Pailin and I snapped photos John rolled a snowball for me. I wound up a la Sandy Koufax (the greatest baseball pitcher I have ever had the pleasure to watch perform in person and on TV) and went through the motion of flinging a fastball while John and Pailin snapped away. Afterwards I tossed the snowball at a tree, but alas it wasn’t a strike. My apologies to those of you who don’t know or understand the American sport of baseball and its terms.

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Linda and John Monnett in the coffee shop of the Stanley Hotel in Estes Park, Colorado, on 2oct2014. This entire day was a joy as Pailin and I got to hang out with John and Linda. They had taken us to the Rocky Mountain National Park, which obviously both of them love. Afterwards they shared the historical Stanley Hotel with us. Linda knows I’m about to take her picture while John seems to be occupied with perhaps seeing a ghost. (photo © Louis Kraft and John & Linda Monnett 2014)

The trip also included viewing the historic Stanley Hotel in Estes Park that represented the hotel that Jack Nicholson and his cinematic family (Shelly Duvall and Danny Lloyd) encountered horror after recovering alcoholic Nicholson became the caretaker of the Overlook Hotel in Stanley Kubrick’s 1980 film version of Stephen King’s novel, The Shining. I saw it when it first opened in theaters but was bored by the film and have never seen it since. … Don’t know if I’d like to stay in the Stanley Hotel on a solo trip but the hotel would make a great location for a western history convention.

Sand Creek Massacre National Historic Site

Ladies and gents, this tragic and yet now holy land is a long-long drive into the middle of nowhere Colorado. John did all the driving on our way to the bloody ground and Linda and John split the driving back to their home. An exhaustive day for them, and John later commented on social media that he was happy when Kraft left for his life would now return to normal. John and Linda did everything possible to make our visit beneficial to my Sand Creek project while making us feel at home and welcome. They were marvelous hosts and Pailin and I enjoyed every minute of our visit. J & L, thank you.

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John knew I wanted to meet Jeff Campbell, whom he had already met, and both of our fingers were crossed on 3oct2014 (at least mine were). We—I—got lucky and Jeff worked on this day (and I do believe we—I—were/was lucky for he had a very busy schedule in front of him moving forward in October and into November with all the Sand Creek Massacre 150th anniversary events at hand (and with Cheyennes and Arapahos visiting the NHS). Pailin took this image of us on the wooden platform in front of the makeshift visitor center and as you can see there was a harsh sun that day. I don’t remember what I was saying to Jeff, but trust me for we weren’t arguing. Nor were there any comments regarding the Ned Wynkoop review I had submitted upon request to the National Park Service. (photo © Pailin Subanna-Kraft, Louis Kraft, Jeff Campbell, & John Monnett)

The Sand Creek Massacre NHS needs a lot of money to bring it up to Washita Battlefield NHS in scope, presentation, and splendor. They have the correct people in place at the NHS, they have the knowledge and understanding of what happened, but they still need U.S. government funding to make this sacred ground a jewel in the U.S. park system. This must happen, for believe it or not this is perhaps the most important of all the Plains Indian war sites for what happened there paved the way for the conscious destruction of people and their lifeway. It created a searing wound in the Cheyennes and the Arapahos that will never heal, while at the same time made it clear that greed, prejudice, right, wrong, and conscience really have a major impact on history and that it defines the participants.

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I don’t remember what John was saying at this moment, but my guess is that he was pitching my Sand Creek manuscript. Pailin took this image on 3oct2014 just outside the Sand Creek Massacre NHS visitor center. (photo © John Monnett, Pailin Subanna-Kraft & Louis Kraft 2014)

As said above everything is falling into place at the Sand Creek Massacre NHS (more below) as to what happened, and, as Ranger Jeff Campbell (more on Jeff below) explained on this day, those leading the way to define the presentation at this oh-so-important site are getting close with confirming their facts and gaining consensus from all the parties involved. This location—and I don’t care if it is in the middle of Neverland, USA—this sacred ground deserves a visitor center/museum that matches the one at the Washita. That said, the land is magnificent, and along the bluffs that skirt the western perimeter of the property present a marvelous view of massiveness of the ground on which the November 29, 1864, attack on a peaceful Cheyenne-Arapaho village took place. There are no well-placed signs along the trail telling the visitor what he or she is looking at to date, so one must have a good knowledge of what happened to make any sense of what is seen.

Some of what follows is repetitive, but as it is important I need to repeat it here. Jeff Campbell, who has held a wide range of jobs over his career, ranging from school teacher to a crime scene investigator, has now as a National Park Service ranger taken on the challenge of piecing together the events of that tragic day as if it were a crime scene. On Friday, October 3, John, Linda, Pailin, and I spent valuable time with him as he explained his approach to his task as well as update us on the status of the NHS. Although he wouldn’t reveal details he made it clear that his and others work was about 95 percent complete as to determining where the attack happened as well gaining a consensus from the various participants who have a major stake in the telling of this horrific attack. I’m talking about the people who had attempted to end a war in September 1864, thought that peace had returned to their lives, but then on that November 29 day were attacked and brutally murdered—the Cheyennes and the Arapahos.

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My lady on the bluffs above the Sand Creek village site on 3oct2014. (photo © Louis Kraft & Pailin Subanna-Kraft 2014)

To gain an understanding of all the parties involved in the massive project of purchasing the land, creating the NHS, and then piecing together all the historical events has been a joint project with many factions involved, read Ari Kelman’s book A Misplaced Massacre: Struggling over the Memory of Sand Creek (Harvard University Press, 2013).

Although Kelman’s prose is a page-turner, especially when dealing with the events in the last 30 or 40 years as he brings the modern-day Sand Creek story together—and it was a fight for the Cheyennes, Arapahos, U.S. government, land owners, historians, would-be historians, and National Park Service to create this historic site, but be wary of his information related to the battle and the events surrounding it. Although Kelman uses, at least his notes claim he used, primary source material, there are many errors. Why? I don’t know why. Perhaps there was a poor understanding of the primary source material, not checking facts, or a rush to go to print? There is a warning here: While in modern times and dealing with the fight, and it was a fight, to create this much-needed NHS that protects this oh-so-sacred ground, Kelman’s book is a wonder. However, if writing about the participants and events of that horrific time during the 1860s be careful or you will repeat his errors.

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The four of us are at the second and final bench on the walk skirting the village site. John is checking the brochure, which has a small map and I’m asking Pailin what she is doing. “Taking a photo.” We had great temperature for exploring but the sun made for deep shadows. (photo © Pailin Subanna-Kraft & Louis Kraft, Linda & John Monnett 2014)

As Jeff Campbell had stated at the Sand Creek Massacre NHS visitor center the attack had been a running fight. When you walk the bluffs above the grounds you easily see the immensity of the village site and the open expanse on which the fight took place. I could envision myself as Capt. Silas Soule or Lt. Joseph Cramer as they instructed their men not to fire their weapons; I could envision myself as mixed-blood Cheyenne George Bent as he scrambled to escape the surrounding soldiers only to be wounded but still able to escape under the cover of darkness.

I can also easily see myself as mixed-blood Cheyenne Edmund Guerrier as he escaped unharmed; I can imagine myself as Cheyenne Chief Black Kettle who under the cover of darkness returned to where he thought he’d find his dead wife Medicine Woman Later only to find her alive and with her escape; and finally I could picture myself as Arapaho Chief Niwot (Left Hand) as he received the wounds that would lead to his death. … I can’t visualize myself as a soldier that killed women, children, and men and then sexually hacked their bodies to pieces. By now you know I can step into Ned Wynkoop’s boots and explode when news of the slaughter reached him.

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LK standing next to the plaque at the entry to the Sand Creek Massacre NHS grounds (which is separate from the visitor center). John M. took this photo on 3oct2014 when we returned to his auto. The Indian pictured on the plaque is unidentified. (photo © John Monnett & Louis Kraft 2014)

As Johnny Boggs’ quoted me in his terrific article, “Trail of Tragedy” (True West, November 2014, page 53), “War doesn’t give soldiers the right to murder, rape, and butcher. Not yesterday, not today, and not ever.” You know where I stand, but as a writer and historian I must separate myself from the story and let the participants’ actions speak for them. I must eliminate my bias from the writing and reporting, for whatever I think and feel is not the same as the people thought and felt in 1864. If I do my job properly, the readers will make their own decisions on what happened.

At the Sand Creek NHS Administrative office in Eads, Colorado, I met Shawn Gillette, chief of interpretation. Shawn liked the Wynkoop book, but more important he told me that he and the others who worked on the Ned Wynkoop NPS brochure had seen my review of their draft. He also told me that the NPS Regional Office had shredded their original draft and insisted upon certain items being in the two-page brochure and that he and the others did what they could to include as much as they could of what I had provided but were limited by space.

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I didn’t know what to expect when we walked into the Sand Creek Massacre NHS administration building in Eads, Colorado, that afternoon of 3oct2014, but I would not have guessed what happened. After Shawn realized who I was he greeted me like a long-lost friend. I’m still smiling over our meeting for I had felt when there was absolutely no response to the review of the Wynkoop brochure I submitted (upon request) that I had become public enemy no. 1 of the National Park Service. (photo © Pailin Subanna-Kraft, Louis Kraft, & Shawn Gillette)

Shawn’s comments were perhaps the best thing I heard regarding the Wynkoop brochure, and perhaps on the entire trip. Honestly, I thought that my review and the follow-up blog  (National Park Service, Ned Wynkoop, & a bad taste) killed my entire relationship with the National Park Service. Perhaps I could afford saying adios to the NPS but I didn’t want to lose my great friend, the chief ranger at the Fort Larned NHS, George Elmore. George and I became friends when he gave my then young daughter Marissa and I a private tour of Fort Larned in 1990 or 1991. At this time he had answered many questions that saw print in The Final Showdown (1992). Since that time George has been there for me 100 percent of the time every time I have called upon him. If we lived near each other I am certain that we would hang out together. … Shawn eliminated any fears that I had that I had damaged my relationship with George. Thanks Shawn!

An end to the Colorado visit 

John, Linda, Pailin, and LK had an easy Saturday. We had a late breakfast at the Monnett’s favorite coffee house (John calls it his second office; at least that is what I think he calls it). Certainly he spends a lot of time there. Afterwards we hung out at and rested at John and Linda’s great house. John and I talked a little about research and we decided not to apply for the fellowship at the Braun Research Library (Southwest Museum/now part of the Autry National Center in Los Angeles). I’m not sure of John’s reason but I know mine, and mine is firm (read into this what you will).

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Dinner at The Fort. I wanted to use a photo that I took of John, Linda, and Pailin but there was a problem with the image. Linda took this photo with Pailin’s cell phone. (photo © Pailin Subanna-Kraft & Louis Kraft)

That night we went to dinner at The Fort in Morrison, Colorado. I always enjoy going there, and I think that John and Linda do also. This was a first for Pailin. My lady and I had duck (a first for me), while Linda enjoyed quail and John, I think, had a steak. Pailin and I often share, as she is small and I don’t want to grow larger (always more than enough food for both of us). I like buffalo and would have loved to have had shared buffalo with her but she many years ago swore off eating any large animals (buffalo, venison, elk, beef, and so on). I’m good with honoring her wishes when we share, and on this night we did. Loved the chile and orange duck! We don’t eat beef at home, but Pailin also likes duck (and has since her Thailand days) and it will be added to our menu at Tujunga House.

For those of you that aren’t familiar with The Fort, it was built to represent one the trading posts that William Bent and company built in the early half of the 19th century to the east of the Rocky Mountains in the land that would become Colorado Territory.

I-25 south to that special land where I am at home

I-25 enters and then leaves Denver, Colorado, as you head south to the Land of Enchantment—New Mexico. Santa Fe grabbed me the first time I had visited in 1987 for research (and this included a side trip to Taos).

Two years later I returned to New Mexico to negotiate writing, designing, and publishing a book a month geared toward pitching New Mexico to Japan.

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This is the east-facing portion of builder Joe Cuellar’s house as it sat near the top of the mesa to the west of Albuquerque. The great room is highlighted in the lighting. It had seven windows and fully a 180-degree view of the bowl in which Albuquerque resides. At night the views were spectacular. Most of the acreage in the front of the image shows the extra acre I negotiated into the contract. I don’t live in the past, but I do learn from it and it does influence me. (photo © Louis Kraft 1989)

I had been lured to Albuquerque where I had seen several adobe-style homes on an acre that were featured in the Albuquerque Journal (I then subscribed to the Sunday edition). Before I returned to New Mexico to look at the homes, the builder and I hit it off and although I had an interview set up with a jewelry firm for a writing position builder Joe Cuellar introduced me to the vice president of the CBS TV affiliate in Albuquerque.

I loved one of the houses (3300 square feet, one level that had steps as it climbed the hill). I negotiated an extra acre into the deal ($196,000 total), and although the jewelry position didn’t work out the CBS affiliate and my negotiations made decent progress. The VP even visited Los Angeles to continue working on the deal. My task: Obtain the information from Japan, write the text, design the publication, and get it printed each month. Alas, there was one showstopper to the possibility of bringing Japanese investors into New Mexico; I had set a bottom price that I wouldn’t go below. The VP dropped below it. Adios amigo. End of deal, … and house.

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The drive was mostly straight with some curves until soon after I-25 passed Las Vegas and turned west toward Santa Fe. We cruised past Glorieta, where over three days in March 1962 Union forces, including Maj. John Chivington and Capt. Ned Wynkoop, took part in the Battle of Glorieta Pass (March 26 and March 28; the two armies didn’t fight on the 27th). A short while later we passed exit 290 (Clines Corners) where Pailin and I had an appointment with Lisa Smith on 7oct2014 to look at a couple of houses in Eldorado, a sprawling area with adobe style and adobe homes that is perhaps ten+ miles from downtown Santa Fe.

After unpacking at our lodging on Cerrillos Road, Pailin and I drove to the historic district and ate at the Blue Corn Café. Afterwards I led her the short distance to the Santa Fe Plaza, showed her the exterior of the Palace of the Governors, and finally the Fray Angélico Chávez History Library, which for years has played a special place in my life. While walking back to the car I pointed out the Lensic Theatre to Pailin. For one night in December 1940 it played a large role in the lives of the people of Santa Fe and surrounding areas when the Errol Flynn-Olivia de Havilland film The Santa Fe Trail premiered in Santa Fe (actually in three theaters). De Havilland had become ill on the train that brought the Warner Bros. junket to the city and never took part in the premier’s festivities. Not so Flynn, and he had the time of his life.

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The Lensic Theatre, which is just off the Santa Fe Plaza, in the early evening of 5oct2014. In the previous decade Tomas Jaehn (you’ll meet him below) attempted to get the Ned Wynkoop one-man show into the Lensic but (if memory serves me) the cost was too high to rent this historic and gorgeous theater. A shame; I drooled when I saw the interior of the Lensic. (photo © Pailin Subanna-Kraft 2014)

Tomas Jaehn & the Fray Angélico Chávez History Library

My first trip to Santa Fe was a visit to the New Mexico History Museum to research Ned Wynkoop in 1987. At that time Orlando Romero was in charge. Orlando was open and helpful. He was restoring (I think?) his family adobe home in Nambé Pueblo, which is at the base of the Sangre de Cristo Mountains about 16 miles north of Santa Fe. He was getting close to finishing his project and was excited (he told me that he would at some point in the near future retire).

I don’t remember exactly when Orlando retired, but soon after he did (or perhaps before he did), the New Mexico History Museum moved its document collections to the Fray Angélico Chávez History Library. The New Mexico History Museum didn’t cease to exist, and let me say that some of the treasures it holds are marvels. I know, for one day years back Charles Bennett, former assistant director of the Palace of the Governors, took daughter Marissa and I into the depths of this historic site and we saw them.

… Soon after Orlando’s retirement I returned to Santa Fe to continue my Wynkoop research.

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On 6oct2014 Pailin and I met Tomas Jaehn in the entry to the New Mexico History Museum. We walked to his favorite coffee shop and enjoyed the brew while we chatted. Old times for Tomas and myself as we caught up, but new times for Pailin as she got to know him. Unfortunately our visit wasn’t well timed and we couldn’t socialize. (photo by Pailin and © Pailin Subanna-Kraft, Louis Kraft, and Tomas Jaehn 2014)

It was at this time that I met Tomas Jaehn, who replaced Orlando. I cannot say enough good things about Tomas. He has helped my writing and research in so many ways, that if it wasn’t for him I wouldn’t have completed some of the projects that I have over the years, and I’m certain that some of the articles and certainly Ned Wynkoop and the Lonely Road from Sand Creek would have taken longer to complete to see print. In 2001 Tomas approached me about creating the Louis Kraft Collection. I liked the idea but it took a year for me to make a delivery and sign the contract.

Over the years Tomas and his family have become good friends.

A primary goal of visiting Santa Fe was and is (as this goal is ongoing) to introduce Pailin to this marvelous city and New Mexico. We both love Los Angeles and Pailin has a wonderful family of Thai friends living there (LA has the largest Thai population in the U.S., and better there are over 200 languages spoken in Los Angeles, also the largest in the U.S., according to the LA Times), which means that living in Los Angeles is very important to her. She is also aware that Los Angeles is a very expensive location to call home, and the prices climb continuously (I’m even taxed to be a writer using a computer in our home even though I don’t claim Tujunga House as a write off). There were two other primary goals for visiting Santa Fe: Making a delivery to the LK Collection and to continue my research at the Chávez.

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In the past I have handed a camera to people to take pictures of Tomas and I, but for some reason the photos have been out of focus. Not so on this visit to Santa Fe and Tomas. Pailin took a number of first class images, and this is my favorite. As you can see we are in Tomas’s office, and the morning sun is blasting through his window. Over the years Tomas has become my good friend; I wish we lived near to each other. (photo © Pailin Subanna-Kraft, Louis Kraft, and Tomas Jaehn 2014)

On Monday morning, October 6, we met Tomas at the New Mexico History Museum complex, which has been recently built, and now uses an elevator as the official entry into the Chávez. We walked to his favorite coffee shop and enjoyed coffee (see above photo). Afterwards I made the delivery, which included: Ned Wynkoop material (recent articles in the December 2013 and the August 2014 issues of Wild West magazine; an article in True West magazine; a review of the NPS brochure on Wynkoop & accompanying blog; review of Leo Oliva’s Wynkoop bio for Wynkoop’s induction into the Santa Fe Trail Hall of Fame; reviews of Ned Wynkoop and the Lonely Road from Sand Creek; and recent talks on Wynkoop), information about LK’s relationship with Pailin Subanna and their marriage, five DVDs (three Wynkoop talks, one Gatewood-Geronimo talk, and the 2012 Wrangler award in Oklahoma City), and about 100 photos (including art, collages, LK’s freelance-writing life, and Pailin Subanna-Kraft).*

* Although LK and Glen Williams made a delivery to Tomas in Williams, Arizona, in September 2011, this delivery, which mainly focused on the creation of Ned Wynkoop and the Lonely Road from Sand Creek (and also included a photo delivery), has not yet been added to the Louis Kraft Collection. It is hoped that the 2014 delivery will be added at the same time that the 2011 delivery is added to the collection so that the information related to the Wynkoop book from both deliveries can be merged together as one addition to the collection. … Currently the LK Collection includes 18 linear feet; with the addition of the 2011 and 2014 deliveries the collection should grow to 21 linear feet.

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Currently the Louis Kraft Collection has 18 boxes that are available for researchers to view. In this 6oct2014 photo I am touching the 18th box. I can’t begin to tell you how much Tomas has done for my writing career over the years. He’s a good friend. (photo by Pailin Subanna-Kraft; © Pailin Subanna-Kraft, Louis Kraft, and Tomas Jaehn 2014)

After completing the delivery Pailin and I did research in the Chávez archives. We were looking for subjects for magazine articles as well as additional information on the Sand Creek tragedy. Tomas had brought out one of his latest acquisitions, which I have been aware of since the document had been made available to the Chávez. We discussed it, and I told Tomas that to date I hadn’t come up with any background on the author, but had yet to do a search on him in the National Archives. That will happen soon after this blog goes live.

I must add that although Pailin had done a lot of work in Colorado both in archives and in the field in Santa Fe my research demands wiped her out. There was nary a complaint as she smoothly completed each research task I asked of her, and as they related to her photographic capabilities she never had a chance to rest. Yes, I am a slave driver.

Ned Wynkoop’s last job 

Tomas and I discussed Ned Wynkoop’s last job, which was as the warden of the New Mexico Territorial Penitentiary.

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The New Mexico Territorial Prison as it looked in 1890 during Ned Wynkoop’s tenure as warden. (art © Louis Kraft 2014)

In 1890, when Wynkoop landed the position the prison was a fair wagon ride from Santa Fe, which in Wynkoop’s later years had become his home of choice. I told Tomas that I thought that Wynkoop’s time as warden might be a possible story for New Mexico Magazine, and he replied that he didn’t think so? “Why?” I asked. He said that the magazine, which has always been tourist centric, had dropped its historical pieces. Alas, ’tis true. Tomas did tell me where he thought the territorial prison once stood and that the warden’s house still existed. Although not on this day, but before we left Santa Fe we found and photographed the residence (as well as the government building where the prison once stood). As warden Wynkoop stepped outside the box and made the prison self-sufficient. There’s an article here; the question is where to place it.

Pailin’s introduction to Santa Fe

On the sixth we finished at the Chávez at about 12:30 and said goodbye to Tomas. As stated above my lady was worn out as I had pushed her in the research. Still she was game and saw the Indian traders on the portico of the Palace of the Governors (including the interior of the building), took a closer look at the Plaza, walked through the narrow streets of Santa Fe with her camera constantly clicking. Images for her and for me.

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Pailin loves art, and Santa Fe is the third largest art market in the U.S. after New York City and Los Angeles. Santa Fe has art on the streets and in the galleries in the downtown area. Unfortunately we didn’t have time for her to explore even a portion of all the roads that are lined with galleries. (photo © Pailin Subanna-Kraft and Louis Kraft 2014)

We ate chicken and green chile stew especially prepared for us at Tia Sophia’s as the only green chile stew they made that day had beef. Good for me; a little warm for Pailin.

Eldorado & the International Museum of Folk Art

On the seventh Lisa Smith, my long-time friend and real estate agent in Eldorado (Santa Fe County) showed us two adobe-style homes on an acre plus of land. The first was interesting with a rustic appeal but felt small. It also had a loft that other than storage was almost useless. However, the land had a nice roll to it and the enclosed entry had lots of possibilities. Lisa told us that it was overpriced (she would tell the selling agent her view later that day, and apparently other agents had also done so, for by late afternoon the price had dropped $50,000). The second home listed for $25,000 less than the first house but was magnificent.

EldoradoHouseCollage_2014_wsAfter seeing the houses that Lisa showed us, Pailin asked me why we don’t have a home like these in Los Angeles. The answer is simple: Housing in Los Angeles costs more, and that for us to live in a home like these we would have to leave LA. … This was my kind of question and I hoped that it would remain in Pailin’s head.

Prices continually rise in Los Angeles. Currently there is a scare of an increase of gasoline tax from 15 cents to 73 per gallon to fix the roads; we’re already paying a heavy tax to fix the roads (and most haven’t been fixed in years). Don’t ask me where the money goes for the government won’t like my answer.

Oh, the Los Angeles Times featured “99 WAYS TO BOOST PENSIONS. AT PUBLIC COST. Taxpayers could shoulder billions after CalPERS approved perks for new public workers” in the 23oct2014 issue of the paper. The title and subtitle says it all, but here is just a taste of being a government employee in the late great state of California: The pension fund has quadrupled in the last 10 years, from $1.9 billion to $8.1 billion. What are some of the perks? How about a bonus each month for staying in shape (they call it “Physical Fitness Pay”), or adding to one’s pension by keeping traffic moving, working with animals, a premium for dictation/shorthand/typing skills (Are you kidding me?), writing parking tickets (What? Write more tickets and you get a bonus or your retirement grows?), auditorium preparation, mentioning school children, and my favorite, a library reference desk premium for directing visitors to the correct location in the building. The list goes on ad nauseam. … Sorry, but I’m back in the real world.

Santa Fe has four Thai restaurants that I know of and another that serves Thai food once a week. That said I failed to learn the size of the Thai population in Santa Fe. It will be small, but I know that the chef and owner of Thai Vegan (a great restaurant) is Thai, so that means that at least one Thai person lives in Santa Fe (city and county). My searches on the internet turned up zero.

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On 7oct2014 Pailin fit right in with the International Museum of Folk Art. (© Pailin Subanna-Kraft & Louis Kraft 2014 for this and next photo)

We said goodbye to Lisa (although we would see her again later in the day to see a third house) and headed to a destination that I had seen only once (in 1987 I think). I had been bored to tears decades ago but thought Pailin would love it.

I don’t remember the other museums on Museum Hill but they could have been there in the 1980s. Certainly the exteriors and everything now in place didn’t look like I remembered it, and this is good.

ps_Intl_Museum_ofFoldArt2_7oct14_wsPailin fell in love with the International Museum of Folk Art the moment she started to explore it. And you know what? So did I. Like good wine the folk art from around the world sparkled with life and color. “Multiple Visions: A Common Bond,” which has been on display since 1982 is a marvel of culture and art. This is the exhibit that bored me in the dark ages. All I can say now—other than what I said above—is that I must have been blind when I was younger. … Three other exhibits are also wondrous, but they unfortunately have end dates:

  • “Between Two Worlds: Folk Artists Reflect on the Immigrant Experience” (ends 24may2015)
  • “Wooden Menagerie: Made in New Mexico” (ends 15feb2015)
  • “Brasil & Arte Popular” (ends 4jan2015)

A trip to Taos to introduce Pailin to Kit Carson

Over the years I have done a lot of research on Kit Carson. Since Taos is so close to Santa Fe and as our work had ended there except for photographing the location of where the New Mexico Territorial Prison once stood, on 8oct2014 we drove to Taos. The goal was to introduce Pailin to:

  • Taos
  • Taos Pueblo
  • La Hacienda de los Martinez
  • Kit Carson House

The order of the list is deceiving, as returning to see Kit’s home for many years has always been primary on my list (for reasons that have been in place for decades). Taos was second as I wanted Pailin to see another example of a city with adobe-style buildings and an artistic aura, which, alas, survives on tourism (heck, New Mexico survives on tourism). Third was Taos Pueblo, actually as I wanted her to experience an Indian pueblo that was occupied. I prefer Acoma (west of Albuquerque) as it is much less commercial than Taos, but hadn’t plotted our return trip from Texas, and wouldn’t until the night before we left Texas. Kraft, how many miles can you drive during a single day? … Along with what would weather conditions along I-40 in Arizona be like during our trek homeward. Last, but certainly not least, was La Hacienda de los Martinez. When Linda Monnett learned that Taos was on our visit list she recommended that we see the hacienda and I’m glad that she did.

Taos

This quiet adobe town dates way back, perhaps as early as 1615 with Spanish colonization. When the Mexican-American war ended with the treaty of Guadalupe Hidalgo (1848) Mexico ceded a large section of land to the United States and this included Taos and the area that became New Mexico Territory. Kit Carson’s presence dated to the early 1840s, and Taos has been a favorite destination of mine since 1987. It was during that time that I became hooked on the real Kit Carson (see below). The town, which is a short drive south of the Taos Ski Valley* immediately became a second destination for my daughter and I, as we have always found it peaceful, liked the food, atmosphere, that it was a short drive to other places we visited, and best for me that it was a perfect location to take a week and create a talk (I think that the first time I did this was in 1995 when I gave a Custer-Stone Forehead talk in Amarillo, Texas, a week and a half later).

* After the portion of the trip to Albuquerque to pitch a job and look at a house that interested me the plan was to spend time and explore the surrounding area. Builder Joe Cuellar told me to cancel our lodging reservations in Taos and stay in one of his condos in the Taos Ski Valley and that he and his son Justin would join us in one of the condos he kept for himself. We did for about a week and had a great time exploring with Joe.

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This is a portion of the Taos Plaza as it looked on 8oct2014. Pailin took some images of the plaza area but I can’t find any of them. Oh well, … a little more on Kit Carson, who, during the American Civil War, rescued the American flag when malcontents threatened to burn it (or so the story goes). The plaza was most-likely dirt with scattered adobe buildings surrounding it during Kit’s time. (photo © Louis Kraft 2014)

The shops enclosing the plaza (and the plaza) grabbed Pailin’s interest and she looked at some of the merchandise (but didn’t get anything as she isn’t a spontaneous buyer). She focused on the plaza, enjoying its serenity in the peaceful October 8 late morning, and listened to my telling of Carson rescuing the American flag (history that I hope makes it into a book of mine). I’m certain that at times she thinks that I’m a motor mouth.

This time of year is perfect to visit. Although there was cloud covering the entire day we didn’t encounter scattered sprinkles until we headed back to Santa Fe late in the afternoon. The temperature was perfect, ranging between 70 and 72 degrees the entire time we were in Taos. As we brought food from the previous day, and she had enjoyed Southwest food already we didn’t eat there.

Taos Pueblo 

ps&TaosPueblo_8oct2014_collage_wsI had also visited the Taos Pueblo for the first time in 1987 (it was an extended trip of I believe 16 days with the focus on research in Santa Fe). If memory serves me I thought that in the past I had to pay for parking or to enter the pueblo (think to enter the pueblo), but not on this visit—there was no cost. I don’t know if my memory is in error or has begun to fail (hopefully the former of the two if there used to be a cost).

La Hacienda de los Martinez

A drive into the country to the southwest of Taos, and I think closer to the Río Grande Gorge but not on the road that crosses this magnificent river, a narrow street wrapped in almost a horseshoe to this cool building that the Martinez family occupied from roughly 1804 (their arrival in Taos) until the 1930s. I’m going by memory here, but I believe it was in the 1950s when two gentlemen borrowed money on their homes to ensure that the hacienda would be not only restored but would become protected and made into a museum. There weren’t enough signs and those we saw were small, and at times we wondered if we had made a wrong turn. At one point I continued straight but luckily Pailin saw that I should have turned right. … A U-turn, then a left and we were back on course.

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Pailin (left) leans against the archway that separates the first courtyard from the second at the Martinez Hacienda. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

La Hacienda de los Martinez is off the beaten path and we almost had it to ourselves. As you drive into the dirt parking lot you get the feeling that it was built as a fortress. There are no exterior windows, and only one exterior door and one large double gate for wagon and livestock entry at the front of the building (and one double gate for entry into the second courtyard). At the top of the structure, which has two courtyards is a surrounding wall with notches for defending the structure if need be from attack. Rooms are at the base of the rectangular fortress enclosure and again slicing through the middle of the structure, which creates the two courtyards. The rooms are decorated and furnished in a manner that represents how it might have looked in the hacienda’s heyday. Lighting in the rooms makes it easy to study and enjoy them.

The Martinez family certainly predated Kit Carson’s arrival in Taos and choosing it as his home. What we saw has been restored and decorated to represent 1820 (or later, as it took time to build), but it also provides a great insight into how the Spanish families (and employees and slaves) lived before and probably up to the time that Kit’s tenure in the area began.

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LK (right) leans against the same archway that separates the first courtyard from the second at the Martinez Hacienda. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

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This is the first of the two courtyards at the Martinez Hacienda. The second is dirt, as are all the rooms, which encompass the hacienda. It was built as a fortress, and had one door and two double-gated entries into the structure. Ramparts on the roof functioned as protection for the hacienda. There were no exterior windows. (photo © Pailin Subanna-Kraft 2014

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Pailin and I took our time as we explored every nook and cranny of the hacienda. I could picture myself living there in the early 1800s.

When we entered and before we left we spent time with the lady who greeted the handful of visitors, and I learned a lot from what she told us, but alas didn’t take notes so some of the above is from my memory. Our western states could use more of this preservation as it allows those of us that want to step back in time and get the feel of what it might have been like to live as our ancestors did.

If your travels take you to Taos, and you have an interest in the western experience before the great migrations westward I highly recommend La Hacienda de los Martinez.

This was the children’s room at the Martinez Hacienda. There were so many great rooms there, and they were decorated as they may have been in the first half of the 1800s. (photo © Pailin Subanna-Kraft)

Kit Carson House

The Kit Carson House has changed ownership and this has affected the size of the residence (to the better) and the interior appearance (again to the better). I believe the last time I had been to his house was about a decade earlier. This was my fourth or fifth visit; the first was in 1987. The film Kit Carson (1940) with Jon Hall playing Kit hooked me on the one man who did it all on the frontier when I was young. And Kit has been with me ever since.

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By now you know that Pailin is my sole mate and lady. She is like no one I have ever known in the past. I’m lucky. She’s an adventurer and open to anything; my kind of person. Boy, did I overwhelm her on this trip, and she didn’t miss a beat. I took this close-up is of her sitting at the front of the Kit Carson House on 8oct2014. Although the building has been re-stuccoed and is no longer an adobe structure, the look and feel is close to what Kit and his family lived in 150 years ago. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

Although I haven’t published anything about him it is a quirk of fate, at least in the 1990s after The Final Showdown (1992) was published, and this “quirk” (read: disaster at the time) changed my entire freelance writing path. Although I had been selling magazine articles and speaking about the Cheyenne wars since the mid-1980s I thought I would be a novelist. Unfortunately—or fortunately—the publisher decided to end its western fiction line and a contracted novel died. When I threatened to sue, my-then agent (a relationship also fated to end) almost had a heart attack when I told her my intention. The novel that had been vanished into oblivion dealt with Kit Carson and his relationship with Indians. Dick Upton, of Upton and Sons, Publishers (El Segundo, Calif.) had been pushing me to write a nonfiction book about George Armstrong Custer (to this point in time most of my nonfiction articles and talks had dealt with Mr. Custer). With a dead novel in hand and no book prospects I called Dick and pitched a book. He liked the idea, and I became a nonfiction book writer.

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Pailin took this image on 8oct2014. It is in the improved courtyard of what was the “old” Kit Carson House Museum. What you are looking at are the two rooms that were added after Kit no longer lived in Taos. The leftmost and smallest is now the video room of the new Carson Museum while the longer portion with the lower windows once served as a stable. The Carson Museum and its former associate/partner have severed association with each other. I hope that this makes sense. If you moved to the north of this image (that is on the right side of the image), you would enter the old Kit Carson Museum. This portion of the connected building never was part of Carson’s home, and it is now a separate entity. Life moves forward. (photo © Pailin Subanna-Kraft 2014)

But Kit never left me. I have first editions (or in the case of Kit Carson Days by Edwin Sabin, the 1935 second edition, in which many of the earlier errors had been fixed and additional material added) of all the key books written about Kit up to the most current. I have primary source documentation and am constantly on the hunt for additional material. Yes, Mr. Carson has been with me for a long time. After Sand Creek and the Tragic End of a Lifeway is published, the intent is for Kit to take center stage in my nonfiction and fiction Indian wars writing world. I have already begun a slow, very slow, conversation with Chuck Rankin regarding making my next nonfiction book about Kit.

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This is the middle of the three rooms that Kit and family lived in during the 20+ years he and they lived here. While walking these three rooms I tried to focus on the size of the rooms and their layout. Reason: I think a lot of what is in these rooms now are not current to the Carson family tenure (certainly there are Carson portraits that date to after his moving away; they should be in the small museum section of the building). This room served as the kitchen and eating room for the Carsons, and for their guests, which included numerous Indians from a handful of Indian tribes that considered Carson their friend. (photo © Louis Kraft 2014)

Back to the Kit Carson House; if you’ve visited it you know that the front three rooms are the rooms in which Kit, his wife, Josefa, and their children lived in during the time that they called this house home. Two rooms were added later (as described above), with the larger of the two being added in the early 20th century (it is the gift shop and now entrance to the Kit Carson House, and when it was added it served as a stable).

Oh, the house also served as Kit’s headquarters when he was an Indian agent. As my time with Kit nears, this visit became mandatory (for the reasons stated above). Pailin had plenty of work in Kit’s house.

(Soon after we returned home Lisa Smith sent me the following: “Conde Nast Traveler has named their Top 25 Cities in the World and Santa Fe is #10. Cool, as Santa Fe is my favorite city.)

Gone to Texas to see Glen & Ellen Williams & meet Linda (who I didn’t know)

Over the years I’ve worked in Texas in various ways. I have had great experiences and I’ve seen things that I’ll never forget, some of which I should keep silent about as I do hope to return to the Lone Star state again and I don’t want to be tarred and feathered. Nor do I want to put the Vette to a test to see if I can outrun a posse of angry Texans to the friendly lands of New Mexico or Oklahoma. I’m playing with thoughts here, but I have seen things that someday will see print in the memoir. What I had observed has remained with me, and it has influenced the direction of my life.

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This is how I looked in a generation-gap comedy at the Hayloft Dinner Theatre, Lubbock, Texas (summer 1976), called What Did We Do Wrong?, wherein a straight-laced father and his rebel son exchange places. We did seven performances a week, and had Mondays off. The lead actors came from LA while the theater hired the rest of the cast locally. During the last week of the run the next production was rehearsed during the day, making for long days (and no Monday off). This photo was taken during a rehearsal for the next play, Eat Your Heart Out, which was about an actor who waited tables while looking for acting work (my hair was trimmed and the beard became a mustache). Great play, but I saw things that I would never forget, things that affected my life. This summer led to me becoming a writer. (photo © Louis Kraft 1976)

I’ve performed a lot of jobs over the years while I attempted to figure out who I was and which direction was best for me. Many of the trails I have followed have had dead ends or just drifted off into oblivion. The visits to Texas have almost all been because of what I considered work (although some of you may not think so). My training was in theater: Acting and directing, and although I never thought about it the studies included a lot of historical reading and writing (the different eras of theater, the playwrights, and of course the actors). By the way I never considered writing for any kind of career until I acted in Texas.

I’ll touch on this a little below. Right now I want to introduce you to Glen and Ellen Williams. I met Glen shortly after I joined Infonet Services Corporation in El Segundo, California, in 1990. I landed the job on my freelance writing, design, and publishing experience. The first thing I said to my boss was: “Can I get some technical writing classes?” “No. I hired you as a technical writer. You’re on your own.” My coworkers were an editor that liked to party and not work and a writer who waited for engineers to feed him information. It took me just a day or two to realize that this wasn’t how one wrote accurate technical material that people could read and understand. I began hanging out with the engineers that created the software that I would write about. Before the first week ended I told my boss that I wanted the software that I would write about on my computer. My request surprised him. Nevertheless he quickly got me what I requested and before I knew it I was up and running.

Early on I did some writing for Glen’s team at Infonet (but never worked directly with him). We hit it off and quickly realized that the Indian world and the frontier experience was something that both of us had a great interest.

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After Glen’s and my relationship cemented and we spent time together exploring and having good times. After Glen and I made a LK Collection delivery to Tomas Jaehn in Williams, Arizona, I took this image on 5sept2011 while Glen and I tracked historic Route 66 back to Los Angeles. Here we are east of Oatman, Arizona. I think we drove a little less than 1000 miles during the three-day trip. We had plenty of time to hang out and talk. Too bad we didn’t have a tape recorder going—some of the subjects were lively (read colorful). Something I needed. (photo © Louis Kraft & Glen Williams 2011)

Our working relationship grew into a friendship (even though I don’t think I ever worked with his team again). By 1995 my life had changed drastically and it was about this time that Glen and I got together outside the workplace. It was also about this time that I met his beautiful wife, Ellen (and she’s still beautiful as her photos prove). She’s always been a joy to be around. Let me tell you that I was sad when Ellen and Glen decided to move from Torrance, California, to the land of Glen’s birth (he was born and raised in Wichita Falls, Tex.) in 2012 even though I knew and totally understood their reasons. Their destination in Texas was Denton, a city north of Dallas. It was here that we would meet Glen’s sister Linda.

A long overdue detour to the Bosque Redondo

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Carson art in LK’s personal collection that supposedly pictures him in the mid-1840s.

Glen had given good directions on how to travel from Santa Fe to Denton, saving about 100 miles off the route that I had originally plotted. On Thursday, 9oct2014, we finished the New Mexico Territorial Prison photos, quickly shot north (actually east) on I-25, got off at Clines Corners (where we had previously met Lisa Smith to view the homes at Eldorado) and moved south to I-40. It was on I-40 when my memory shot back to 1995 and Marissa and I driving to Amarillo for the Custer and Cheyenne Keeper of the Sacred Arrows Stone Forehead talk after preparing in Taos. The Bosque Redondo … Fort Sumner … we had been close but had a convention to reach. On this day we were again headed toward Amarillo. Where was the Bosque Redondo? How close would we come to it? Do I dare detour? … Indecision. Ouch! I vacillated, as it would take a lot of time (but not add many miles to the day’s drive). Time passed, way too quickly. Make a decision, damn it! Now! And I didn’t.

We had a pit stop and I yanked out the map. More time passed, again too quickly. … I continued to vacillate, but not for long. Make a decision, damn it! Now! And I did. The town of Fort Sumner was about 42 miles south of I-40. Once we reached the aged town we turned left onto route 60 to the intersection where we would head south a few miles to the Bosque Redondo Memorial at the Fort Sumner ruins.

AmFlags_GraceRoybal_9oct14CollageFIX_wsFor those of you who don’t know what the Bosque Redondo was, Gen. James Carleton, who in 1852 saw the land and thought it would be good for farming, decided to turn it into an Indian reservation in the 1860s. Fort Sumner was constructed and beginning with the 1863 Mescalero Apache campaign and then the 1863-64 Navajo campaign it would now provide the perfect location to incarcerate the defeated Indians.

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This is a detail from one of the placards at the Bosque Redondo Memorial at Fort Sumner. It deals with Carson accepting the Mescalero Apache campaign (with Carleton). The artwork at this memorial is exceptional.

One of his commanders, Col. Kit Carson had quickly forced the Mescaleros onto Carleton’s reservation. They lived south of the Pecos River. After Carson forced the mighty Navajos to capitulate by waging a burnt-earth campaign with very few deaths (with any other commander the death count could have easily grown into the hundreds or more) he didn’t participate in the Long Walk of the Diné, as the Navajos call themselves, to the land that would become hell on earth. Actually he didn’t want anything to do with the Bosque Redondo. Carleton refused to listen to him and ordered him to command the reservation that was anything but a garden place. Winds blew, nothing grew, the Mescaleros and Navajos didn’t get along, Comanches raided, and people died in large numbers from disease and hunger. Carleton provided nothing Carson requested and, frustrated, Carson resigned his military commission. Carleton refused to honor it. The third time Cason submitted his resignation Carleton still refused to accept it but he did transfer his unhappy subordinate.

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In February 1971 Navajos carried rocks from their reservation to the Bosque Redondo to commemorate the Diné that had been exiled from their land and died while incarcerated between 1863 and 1868. (photo © Louis Kraft 2014)

I didn’t know what to expect, but a wonderful visitor center/museum has been built (replacing the smaller and earlier structure next to the remnants of Fort Sumner). The museum isn’t complete, but judging by what the Bosque Redondo Memorial currently has in place it is going to be impressive. There is a lot of land to walk and the center has a recording that can be borrowed (I think there are 90 locations* with commentary as one walks the grounds) but Pailin and I didn’t have time to spend a day or longer at this important piece of Mescalero and Diné memory.

* There is a marker at the spot where Sheriff Pat Garrett shot and killed William H. Bonney, born William Henry McCarty, Jr., and of course known as Billy the Kid (this is a classy historical destination and I’m assuming they are accurate with the placement of the marker, which is close to what remains of Fort Sumner). He was shot in the Maxwell House, which had been the commanding officer’s quarters until the fort was abandoned on 31aug1869. Lucian Maxwell purchased the fort in October 1870, and would die in this building in 1875. All that said, we walked west from the remnants of the fort to view the “Kid’s” marker. The map pictured in the brochure clearly marks where the fort stood. However, it also clearly places the Maxwell House south of Fort Sumner. If true, the marker is misplaced.

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Pailin took this image of us (right) while we were at Navajo Treaty Rock, which has a Diné prayer attached to it. The Navajo Treaty (signed on 1jun1868) is a short distance southeast from the Rock (if the map is correct). The treaty freed the Diné  and allowed them to return to their homeland. Oh yes, there was a harsh sun on that 9oct2014 day. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

There is also a nature trail with plush vegetation (natural to the area?) that obscures and skirts the Pecos River. This area is as perhaps Carleton envisioned it, as the Bosque Redondo and the surrounding area looks to be good farmland today. Alas, for the Diné and the Mescaleros it was just a land of death and desolation. During their deadly occupation of their forced time there their crops mostly died from insects, drought, and perhaps bad luck, which included bad water and a failure of the U.S. government to supply them adequate supplies. Sound familiar? A resounding yes! “Shameful” is a word that accurately sums up what happened during the 1860s and throughout the American conquest of the Indian people.

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This is my daughter Marissa Kraft (right) on one of her many research trips to the American West. She sits above Navajo Fortress Rock on August 7, 2012. The Fortress Rock is in Canyon del Muerto (Canyon of the Dead), one of the three canyons of Canyon de Chelly (the only national monument not on U.S. government land; it is on the Navajo Indian Reservation in Arizona). Navajo Fortress Rock is one of the major set pieces of Navajo Blood, my upcoming Carson/Navajo novel for it is here that the fictional Diné Pedro Hueros must make a decision that will impact his life for all time. If you don’t know how I write about the Indian wars-—fiction or nonfiction—I must walk the land. I must feel the sun, the wind, and I must experience how hard it is to walk. (photo © Louis Kraft 2012)

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Pailin in the former and small visitor center of the Bosque Redondo Memorial at Fort Sumner. Photo by LK on 9oct2014. It is now furnished to represent soldier barracks. Pailin, like myself, avoids the sun. On this day the sun blazed and the wind whistled (although not as much as I’ve encountered in this portion of the U.S. in the past). At times she looks like a Bedouin mounted on a camel roaming the sandy deserts of the Mideast in times long past (at least as seen in countless films). This is to protect her face. I call her my “Bedouin.” I also call her “Chiquita.” (photo © Louis Kraft & Pailin Subanna-Kraft 2014)

I have a novel about Carson and the Navajos underway, but am currently waiting for the completion of the Sand Creek manuscript and the medical-legal thriller—but the novel doesn’t deal with the Bosque Redondo unless I decide to continue with the fictional Navajo warrior and again mix his life with historical Diné leaders during the tragic incarceration. Additional research is needed before I even consider a follow-up book on the Navajos’ exile from their homeland. … At this time I have nothing to share about the nonfiction book idea on Kit Carson that I hope interests Chuck, as there is still a lot of primary source research to complete before I have any chance of writing a nonfiction book about him. As in my nonfiction past I will focus on a specific piece of Carson’s life. The hunt is on, and it is no longer lackadaisical.

By this point of the trip Pailin knew exactly what I wanted from her and at the Bosque Redondo and at the remnants of Fort Sumner she split away from me to capture what hopefully will provide a good basis for understanding what this land—so barren when the Mescaleros and Navajos were imprisoned here—looked like … minus the vegetation that now thrives. My lady is in her element and it’s a joy to watch her work.

Back to Glen, Ellen, and Linda

It has been great to see Ellen and Glen again and to just hang out with them. It was also nice to meet Glen’s sister Linda and Ellen’s mother Judy. And I had the added bonus that Glen, Ellen, and Linda welcomed Pailin with open arms. They talked with her, hugged her, and she immediately responded and became a welcome a member of their household. Better yet she joked and laughed and felt a little more comfortable in joining the conversations.

Glen was home and working in his garage on 10oct2014, but Ellen and Linda were on an errand in Fort Worth and we wouldn’t see them until the late afternoon. After giving us a quick tour of his and Ellen’s home we went out for lunch at the Wildhorse Grill in Robson Ranch. Nice place and good food. Afterwards we returned to their house. This was the fifth house Pailin had been in on the trip. The first was John & Linda Monnett’s marvelous house, then three houses in Eldorado that Lisa Smith showed us of which the middle one was to both of our liking, and finally Glen & Ellen’s home, which is open and perfect for entertaining (we stayed in a casita that was part of their property). That day Pailin again said to me, “Why?” “Why?” I replied, “I don’t know what you’re talking about.” “Why are all these big beautiful houses and ours is small.” I again explained to her that the cost of homes in Los Angeles is high and that if we moved away from LA we could buy a larger house for less money (with or without acreage; I prefer acreage).

Sorry to repeat myself, but the trip goals were Sand Creek Massacre and
Kit Carson research, a delivery to the Chávez History Library, introduce
Pailin to some of my good friends (while I met two ladies named
Linda in person), and finally to give Pailin a taste
of the land and some of the areas I love.

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Shortly after Ellen and Linda returned from Fort Worth, and Pailin and I met them, and Chewy, short for Chewbacca, Han Solo’s sidekick in the Star Wars films (Ellen & Glen’s dog), and Sophie (Linda’s dog), both of whom are friendly, we returned to the Wildhorse for dinner. Pailin had been slow to open up to John and Linda, but felt more relaxed by the time we got together with Tomas, and now she had opened up and although she still didn’t say a lot she spoke up whenever she wanted. Pailin works on the English language every day and let me tell you she is progressing with leaps and bounds. This includes her pronunciation, her sentence structure, and her comprehension of words (spelling and meaning). While driving she constantly reads the words off signs, buildings, trucks, and when the words aren’t names she asks for the meanings of them.

The next day Glen drove Ellen and her mother, Judy, to the Dallas-Fort Worth airport. Judy lives with Ellen and Glen half of each year and with her other daughter in Hawaii the rest of the year. They always meet in Las Vegas, where they can have a short family gathering before Judy returns to her other home. Pailin rested, I did some work, and then before Glen returned Linda and I had a nice talk in the living room, which is like a great room in an adobe-style house in the Southwest. The day and evening was easy as we enjoyed each other’s company. Glen and I never run out of subjects to talk about.

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After looking at clothing Pailin wanted to see the hats. As I led her through the aisles she liked this one and tried on her size. “Do you want it?” “Yes.” “Let me snap a picture.” More proof that Thailand cowgirls exist. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

On Sunday (12oct14) Linda, Pailin, Glen, and I went out for breakfast.

You’ve already seen me say, “Who says they don’t raise cowgirls in Thailand?” After breakfast Glen took us to Justin’s Boot Store (one of three stores in Justin, Texas, I think, that sell boots, hats, clothing, and so on). Pailin and Linda looked at clothes while Glen and I looked at hats. I told him that Barron Hats in Burbank, Calif., which makes many of the hats currently seen in film, makes mine for me.

Pailin likes hats and has more than I (actually she wears three cowboy hats that I gave her; one from the famed Nudie Cohn’s country and western superstore in Van Nuys, Calif., now long gone (as is unfortunately Nudie, who was a classic), an Australian hat that Glen had given me, and the black one I bought for her at Justin’s.

Lunchtime arrived, and the four of us went to Mom’s in Justin. This was a funky place with cool and long-gone stuff on the the walls, including Elvis.

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From left: Glen Williams, LK, Pailin, and Linda Williams at Mom’s in Justin, Texas, on 12oct2014.

Good times. Yeah, this is social time with my longtime bud, his sweet sister, and my lady. Afterwards we returned to Glen and Ellen’s home in Robson Ranch.

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My bro Glen took this great candid of LK and Pailin in front of the entry to the courtyard of his and Ellen’s home in Denton, Texas. It’s still 12oct2014, and Pailin is wearing the hat she found and liked at the Justin Boot Store. He has taken many great photos for me, but this is one of my favorites. For the record, Pailin and I have a good time laughing together. (photo © Louis Kraft & Pailin Subanna-Kraft and Glen Williams 2014)

Glen and Linda relaxed (Linda also prepared to return home) while I worked on this blog and Pailin relaxed and dealt with her family and friends in Thailand on social media. … Soon Linda drove home, and Glen drove Pailin and me to the grocery store for supplies, including celery, parsley, carrots, and lemons to make juice. Like the previous day, we enjoyed each other’s company, rested, and got some work done until we went to the Blue Ginger, a Japanese restaurant in Denton. Good food.

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In the below image the lady in the light blouse is Linda Williams, Glen’s sister. We have been friends on social media, but I didn’t meet her until Pailin and I visited Denton, Texas. Pailin is holding Sophie, Linda’s sweet and loving dog. My lady has made great strides in her command of the English language, but still she holds back (except with me) as she is conscious of her pronunciation of the words and of her sentence structure (both of which she becomes better at by the day). That said, she gets along with animals fabulously (perhaps as there isn’t a language barrier). That’s Glen w/Linda & Pailin in the left image. These photos were taken just before Linda returned to her home on 12oct14. Left image is by LK and the right image is by Glen. (photos © Glen & Linda Williams and Pailin Subanna-Kraft & Louis Kraft 2014)

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Monday was more of the same until Glen picked up Ellen at the Dallas-Fort Worth airport.

Ellen is petite, bright, funny, open, and kind. She is also gorgeous. It was terrific seeing her again, and it was also good to see her effort to befriend Pailin, which gave my lady the confidence to open up some. These were good times with Ellen and I’m glad she returned in time to be with us.

Ellen & Glen Williams have been my great friends since the 1990s. (photo by Pailin Subanna-Kraft and © Ellen & Glen Williams and Pailin, 2014)

After dinner, Ellen, who was beat, went to bed early, and so did Pailin.

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This allowed Glen and I to talk deep into the night. He made certain that I had a drum made for him by Devereaux Old Elk*, who grew up near Garryowen on the Crow Reservation in Montana, and a breastplate, which, according to Glen’s provenance, came from a Crow trader but was created by a Northern Cheyenne (based upon the bead colors). The breastplate dates to the early 1950s and shows considerable use as it was worn for years in powwows. Glen had carefully packed it. These had been his possessions for a long time and he wanted me to enjoy them. I had tried to talk him out of the gifts, but he wouldn’t listen. They are marvelous, and I will enjoy them. Thank you, Glen.

* The Crow scout Curley, who survived the Battle of the Little Bighorn, was Devereaux’s great grandfather.

The image to the left shows the two items that Glen graciously gave me (photo © Louis Kraft 2014).

Ladies and gents, my friend blew me away, and I told him that he needed to keep and enjoy them. He refused to listen, and you are now seeing two of my most prized possessions in Tujunga House. I wasn’t sure how I should share the images and cut them from a larger photo that I took. Most of our money goes toward paying bills, which means that most of my prized possessions were purchased in the past. We talked about the Cheyennes, Kiowas, Crows, among other subjects, and I went to bed blown away by Glen’s friendship and kindness.

Glen, my friend, you have been a highlight in my life. Your gift has floored me and I’m still struggling to accept it. Thank you, my friend, from the bottom of my heart.

Let me tell you that my social time on this trip was as important as the Sand Creek and Kit Carson research, and the LK Collection delivery.

Tomas Jaehn is a long-time business associate and terrific friend (unfortunately Pailin wasn’t able to meet his wife Audrey or his daughters Pilar and Leah). John M is a great Indian wars friend, and now Pailin and I consider his wonderful wife Linda a friend. People are what our world is all about. People are our lives. Some are forever (some aren’t), but without people we have no lives. No matter what I think about my research and writing and no matter how much importance I place upon it, without Pailin, Glen, Ellen, Linda W., Tomas, Audrey, Linda and John my life is empty—nothing. They, and others (such as David DeWitt and Marissa K.) are key to my life, yesterday, today, and tomorrow.

A sad goodbye to Texas

On 14oct2014 we said goodbye to Ellen and Glen, but do hope to return again.

Ellen&Glen_wChewy_earlyAM_14oct14_wsEllen & Glen Williams, and Chewy (pictured at left) on the morning of 14oct2014, a morning in which Pailin and I hit the road early on our trip back to LA. I usually prefer to move forward in linear time, and did some juggling to make this happen here. This morning was both happy and sad for me. Sad in that we said goodbye to two friends I love, and a lifestyle that perhaps we’ll never know (and yet hope always burns eternal). (photo © Pailin Subanna-Kraft, and Ellen & Glen Williams 2014)

Our boring drive ended in Tucumcari, New Mexico (room was decent but the food was pitiful; I won’t bother to mention the restaurant). On the fifteenth we cruised along I-40. West of Albuquerque is the Acoma Pueblo. I believe it is the longest inhabited town in the United States. It sits on top of a 600-foot mesa and is my favorite pueblo but as Pailin had already seen Taos Pueblo we bypassed it. One of the reasons was the long walk during the tour, which is the only way visitors can experience it and the people that live there today. The sun also was a deterrent.

Gallup, New Mexico, and Pailin’s research introduction to Mr. Flynn

lk&ps_EF&elRanchoHotelCollage_15oct14_wsI’ve been passing through and sometimes staying in Gallup for a week or longer while using it as a base for research. This is not my favorite town and I’m not crazy over the food served in the restaurants. Love the red rocks, and at the same time this gorgeous area always makes me sad. Errol Flynn’s last western film, Rocky Mountain (Warner Bros., 1950) was basically a location shoot (not entirely, but close) and a good part of it was shot in the area surrounding Gallup. Flynn, the other actors, and the film crew stayed at the El Rancho Hotel, which is now a national historic site. So why am I sad? The film was shot in black and white. With the red rocks the centerpiece to the film, and they are something to behold, the film should have been shot in color. Warner Bros. was cutting back on film budgets as it continued to end its relationship with its major stars, Flynn included. Too bad, as Rocky Mountain is a decent film.

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Unfortunately you can’t read the EF signature on the Flynn photo at the El Rancho Hotel. It is not only a fraud, but the person who signed Flynn’s name had no clue of the spelling of his name. Flynn’s Name is “Errol Flynn” and the forger signed it “Earl” Flynn. This crap is all over the place when dealing with signatures. If you buy signatures be careful. BTW, this Flynn image dates from the early- to the mid-1940s. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

In the past I’ve explored the El Rancho Hotel’s expansive entry and upper floor that is open to the main floor as well as photograph the exterior. On 15oct2014 this would change as I felt it would be time to expand the physical research, which in turn would be right up Pailin’s alley. It was and she gleefully took requested photos along with ones that she wanted. After exploring we shared a salad in the hotel’s restaurant (it was decent) but afterwards we weren’t able to see the bar, as it didn’t open until 5:00 PM. I told them I was a writer doing research on a book (No ladies and gents: Although there will be a lot of western fact and fiction in Errol & Olivia as three of their eight films were westerns, Rocky Mountain won’t make it into that book), that I didn’t want a drink and just wanted to see the bar. This opened conversations about Flynn’s time in Gallup but it didn’t open the bar, which was locked—Some other time.

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LK leaning against the Vette just before we hit the road. Many more miles to cover, and LK needed to stay awake. The research for this trip had ended, and it was now time to get home safely. Pailin took this image, which shows the exterior to the El Rancho Hotel. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

Gallup was our last point of interest stop as we still had roughly half of the 1400+ miles that I needed to drive since saying goodbye to Ellen and Glen. And each day felt longer than the previous. By the time we said goodbye to I-40 (in California) and drove south on I-15 I was bleary-eyed. Adding to the misery we had to deal with major roadwork with narrow pieces of road and idiots darting in and out of the two lanes. The trip would come in at 60 miles shy of 4,000. And as a bonus, the Automobile Club of Southern California (ACSC) reduced my insurance by $1,300.00; the bill was waiting for me when we returned home. And why not? Kraft is a good ol’ boy and hasn’t killed any cars lately and since he now works at home his driving mileage has shrunk big time. … Of course, if the ACSC had known how many miles the Vette had just covered they would have cried foul!

One final thing

I’m a biographer who focuses on race relations. That is I deal with people who turn their back on racial prejudice, and often attempt to bring an end to war as opposed to butchering people just because they are different. This was difficult to do in 1864 and it is still difficult in our day and age. A lot of people have problems with this. It’s their problem and not mine. Our world consists of many types of people—different races, cultures, religions, and lifeways. If our world is to survive all of us must figure out how to peacefully coexist. If not … BOOM!!! … No more world as we know it and goodbye to the human race.

Today is a good day to be alive. …

Sand Creek Massacre, The Discovery, Errol & Olivia and Ned Wynkoop Updates

Website & blogs © Louis Kraft 2013-2020

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


Sand Creek and the Tragic End of a Lifeway

The Sand Creek manuscript differs from my previous nonfiction work in that it features multiple leading players as opposed to one or two.

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LK in costume as Billy the Kid (sans the revolver and gun belt). A 1969 publicity photo taken by Dennis Riley, who was then a photographer’s mate in the U.S. Navy. This photo session was the first of many over the years. Dennis and I became close during our high school years and this lasted through my four years of college, his college and military service, and after. We were constantly in trouble but he was always there for me and me for him. Those days are long gone. (photo © Louis Kraft 1969)

This includes my written plays in which I have performed. They date back to 1969 with Lew and Billy (Billy the Kid’s meeting with New Mexico Territorial Governor Lew Wallace); 1982’s The Fencing Lesson (a man and a woman cross sabers with deadly intent in a battle of the sexes); the Wynkoop one-man plays that have played in four states, and 2009’s Cheyenne Blood, which again featured two characters—Ned Wynkoop and the Cheyenne woman Mo-nahs-e-tah, who survived bloody attacks on Cheyenne villages (Sand Creek, 1864; and Washita, 1868). This is the phonetic spelling of her name.

Yes, Sand Creek and the Tragic End of a Lifeway is going to be a stretch.

How do I bring the leading players to life? How do I mix and connect the leading players’ story lines? And how do I create text that flows while remaining true to the facts and not putting the readers to sleep?

These are big questions, and they live with me every day.

And of course there are welcome interruptions

In 2001 Fray Angélico Chávez History Library (part of the New Mexico History Museum, Santa Fe) curator Tomas Jaehn (pronounced “Yen”) began the process to create “The Louis Kraft Collection.” A number of years later my then girlfriend Diane Moon wanted to know why Tomas was interested in my work and associated documentation? I told her I didn’t know. “Didn’t you ask?” “No.” “Why not?” I told her that I had been associated with the library since the 1980s, Tomas was interested in my work and letters, and that was good enough for me.

Good enough for me, but not for her.

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I met Tomas Jaehn shortly after he replaced Orlando Romero at the New Mexico History Museum. Eventually the archival portion of the museum would be renamed the Chávez History Library. We hit it off immediately. There’s really nothing more to say here other than I’m lucky to know my good friend.

In 2006 I did a 10-day road trip to the Chávez to make an archive delivery and near the end of the trip talk about “Gatewood’s Administration of the White Mountain Indian Reservation” (during the 1880s Lt. Charles Gatewood, 6th U.S. Cavalry, commanded a troop of Apache scouts and administered the Apache reservation headquartered at Fort Apache, Arizona Territory). Diane flew to Albuquerque on July 2 and spent a few days in Santa Fe before flying home on July 5. She met Tomas when I made the delivery on the third.

I knew what was coming. “Why him?” she asked Tomas when he gave her a tour of where and how the collections were preserved. She insisted upon seeing the Louis Kraft Collection. I wasn’t sure what was about to happen, but knew something would. As it turned out Tomas liked my body of work. More important he felt that since a good portion of my work dealt with Gatewood and the Apache wars and Ned Wynkoop and the Cheyennes that it was ideal for the Chávez, which houses the most complete Edward W. Wynkoop Collection.

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LK in front of the original entry to the NM History Museum (4jul2006) during the trip to Santa Fe to make a delivery to the archive. This entry still exists but is no longer used to enter the Fray Angélico Chávez History Library. Times have changed, and I think for the better. (photo © Louis Kraft 2006)

Before and since the creation of the archive Tomas has done everything to aid my writing and speaking efforts, as well as help me obtain documents and primary source images. Over the years he and Audrey, his wife, have become good friends.

That July Tomas told me about a primary source Sand Creek battle participant document that the Chávez was considering purchasing from a private collection. I reviewed it for Tomas. During the course of our conversations he said I could use this to-date unused view of events in Sand Creek and the Tragic End of a Lifeway (if the library buys the document; and if not, he thought he could convince the document owner to allow me to use it). Fingers are crossed, as there is information worth sharing. I should know the final outcome soon. Unfortunately I can’t share any details at this time.

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George Bird Grinnell completed a massive amount of research over his life documenting American Indians (mostly Cheyennes and Pawnees, but other tribes also). His papers are at the Braun Research Library, Southwest Museum, which is now part of the Autry National Center, Los Angeles, California. The Grinnell Papers take 77 pages to list the folders and diaries. I have 12 days booked at the Braun in the future and have submitted the first round of documents that I must read. Twenty-seven folders and diaries, and this is just the beginning of what I will view before completing my Grinnell research for the Sand Creek manuscript. Earlier I had mined the Grinnell Papers for Ned Wynkoop and the Lonely Road from Sand Creek, but that research centered on Cheyennes that played roles in Wynkoop’s life. I have a fair amount of Grinnell’s writing in-house, but from past experience his research notes are where the gold will be found.

A glimpse into the LK creative world

Add my ongoing high wire act while juggling a life that is so crowded that at times it feels as if I’m being yanked in four directions at the same time.

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Pailin at the Egyptian Theatre in Hollywood, Ca., on 15may2014 for a screening of Errol Flynn’s last A-film (and his next to last film), the 1958 release of director John Huston’s The Roots of Heaven. I caught a great shot of her here for I was able to eliminate the crowd (the screening was co-sponsored by the French Consulate in LA).  Pailin is very aware of my Flynn/de Havilland writing, and this wasn’t my choice for her first complete Flynn film (she had caught the tail end of Adventures of Don Juan and San Antonio when she arrived home from work earlier than expected (and was glued to the TV screen), for I had been carefully plotting her initial introduction to Mr. Flynn’s screen persona. That said I couldn’t refuse seeing Roots on the big screen. At this time Pailin prefers adventures (and is certainly drawn to the American West), but the film has scope and didn’t bore her. BTW, I study film five nights a week. Reason: a writer can learn a lot about plot, character, and dialogue viewing good films. (photo © Pailin Subanna-Kraft & Louis Kraft 2014)

Pailin’s application for a Green Card has been filed and moves forward. This means that I have begun preparing an extensive photo album that shows that she and I are who we claim. At the same time she and I need to prepare carefully for our immigration interviews.

Let’s not forget my writing projects: The Discovery, Errol & Olivia, Sand Creek and the Tragic End of a Lifeway, and that Geronimo article I owe Greg Lalire at Wild West. It now has firm deadline and publication dates. (I will make the deadline if it kills me; unless he takes aim at me first.) In addition to the article I need to complete a portrait of Geronimo that I promised. To date I’ve created two of Mr. G, but don’t like either. This means back to the drawing board. The Flynn projects (E&O + the second book on EF) are major pieces in my life. They must be completed and published. Like Wynkoop, Charles Gatewood, and the Indians and their lives, Mr. Flynn has influenced my life. Actually EF, his film roles and life, have played a major role in my life. Certainly he opened the world of the Indian wars and racism to me.

As the subtitle of my website reads, “Follow the winding trail of a writer as he walks a solitary road …” implies I have spent a lot of time alone. At the same time I’ve never been lonely. Boy, talk about two sentences that state opposites. My friends are good and they are always with me even though most don’t live nearby.

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LK at the 2012 Western Heritage Wrangler Awards in OK City. An article of mine, “When Wynkoop was Sheriff,” won a Wrangler. A cool and fun three-day event. (photo © Ownbey Photography 2012)

For me writing is a fight and a struggle. This is a constant, and it is every day. If it weren’t a fight and a struggle why bother? Creativity and finding what is hopefully close to truth doesn’t happen with reading a few facts and then typing a few paragraphs. That’s just the beginning. What has been read may be wrong, which in turn makes my paragraphs wrong. The creativity results from years of not buying into “the easy” or worse “the set premise that must be confirmed at all costs,” but by maintaining an open mind and allowing the discovery of truth and often this isn’t what I expected to find. And this must dictate the story line. Writing, and I don’t care if it in nonfiction, fiction, or whatever, needs a number pieces to work together seamlessly. We’re talking facts, hard cold facts combined with prose that propels the story and doesn’t put the reader to sleep. Sometimes I’ll spend hours on a single paragraph, and if not satisfied more hours. Merging the facts with writing style takes me years to complete, and knowing this has made it mandatory for me to buy into my subjects 100 percent before I write a single word of the manuscript. If I don’t buy into my projects 100 percent, I would walk away from them long before they reached completion.

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The Santa Barbara, Ca., art was created in 1977 for my then theatrical manager, Richard Steel Reed. This was a commissioned work (for $300.00), but eventually the art would return to me. The sketch of Patric Spann, was one of many I created for Infonet Services Corporation in the late 1990s when I served as editor-in-chief, art director, designer, staff writer, photographer, and artist for an engineering newsletter that I pitched and created, and which was distributed to Infonet’s offices in 68 countries. A cool job that I had one hell of a lot of fun doing (art © Louis Kraft 1977 & drawing © Louis Kraft 1997)

Over the years I have learned that there are additional ways to add value to the story and bring in extra cash. Money is a necessity. In the past I lived in a world that handed me bags of greenbacks. This allowed me to do whatever I pleased whenever I pleased. Extended research trips with stays in first-class hotels (when available) were the norm.

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These images represent my wanderlust without a money care. The top image is of me at the helm on the half deck of the pirate Francis Drake’s Golden Hinde II, a replica of the vessel that he circumnavigated the globe in between 1577–1580. Originally the helm had a whipstaff; the wheel didn’t exist in Drake’s day. I’ve been aboard this vessel three times (its maiden voyage to San Francisco, Ca., in 1976, it’s voyage to Oxnard, Ca., in 1985, and in London, England, in 2009). I’m one with the sea and hope that I will live long enough to write about Drake. The black & white image was shot by my great friend George Carmichael, whom I met at UCLA during the early 1980s. Initially George and I butted horns in a fiction class, a clash that resulted in a 30 year friendship. George died at the age of 90 on April 2, 2014. I’m still struggling with his passing, as he was one of the major players in my life. (photos © Louis Kraft 2001 & 2009)

Mr. Shakespeare aptly said in his soliloquy about the phases of life:–

“All the world’s a stage,
And all the men and women merely players … “

… and I have entered one of the later stages of life. This point of my life has changed my entire outlook and has made my focus not on money but on what is important to me.

I don’t write for companies anymore. I only write for me and the companies that contract my freelance writing. The select few publishing companies that I choose to write for will continue to pay me as long as I write cutting-edge prose that is hopefully close to truth, prose that moves and doesn’t put their readers to sleep, and of course don’t piss them off too much. As long as I can do this, my publishers (and they are top notch) will continue to print my words.

They may cringe at my opinions, and at my blogs (when they read them), and even worse when I commit heresy and submit my art while questioning their designed layout that is considerably less than sparkling (I’m being kind here). Although rough around the edges (and I’m being kind to myself here), my art (no matter how juvenile or simplistic, or worse) has brought in money dating back to 1976. … In 1996, and while still an employee of the first software company that I wrote for, Infonet Services Corporation (now British Telecom Infonet), I watched the documentation department disappear (similar to the dreadful play, and worse films, Ten Little Indians). But as I wasn’t ready to become history I reinvented myself and created a web-based system that documented one of Infonet’s major tools for in-house consumption. As I already had design and newsletter experience in a hands-on and managerial capacity I pitched a glossy newsletter to Mike Watson, director of Information Services (Research & Development), and he bought it. This wasn’t ego-based, rather it was simply keeping me employed and earning the almighty buck. More important, I learned to go after what I wanted (or in this case what I needed). It bought me a couple of years, good years, until I decided to move over to the space industry.

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This image is a work in progress. It displays Cheyenne warriors talking before setting out to hunt. Although I may use it in a publication someday, I am almost 100 percent certain that it won’t see print in Sand Creek and the Tragic End of a Lifeway. But then again, who knows? (art © Louis Kraft 2014)

This leads to creating art for publication, which can lead to multiple printings in various formats (and extra cash). Of course there is a downside. Sometimes snide critics frown upon a writer using art that he created in his written works. I guess they support the system of using often used images (which is unfortunately the case) one more time as opposed to adding something new to a publication. I’m big on collages too, for collages count as one image in book or magazine form. More important, they can visually support the text and add value to the printed work. Another no-no? Probably, but I’ve moved beyond nitpicks that are based upon a long in-place vision on how nonfiction should be presented.

Currently I’m considering using art for illustrating Sand Creek and the Tragic End of a Lifeway. When I restored and fine-tuned (with documented permission from the various archives) all the images and photos for my submission to the University of Oklahoma Press for Ned Wynkoop and the Lonely Road from Sand Creek, my friend and editor-in-chief Chuck Rankin told me that I didn’t need to do this. Moreover, he said that he wanted his writers to write. I ignored him. If he reads this blog I hope he’s sitting. That said, Chuck, at the moment the above is just a consideration for the image delivery. Will it happen? Probably not. Of course I’m a firm believer in never saying “never.”

When it comes to writing progress is king

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Celebrating Olivia de Havilland’s 93rd birthday in her Paris garden on July 3, 2009 (her BD is on July 1). She is a pure joy to know: Bright, funny, sexy, political, and oh-so caring. In this image she is looking at her birthday card. Two of her gifts are on the table (others included flowers, photos, and various writing). As every time I’ve been with her, this day and evening did not disappoint. (photo © Louis Kraft 2009)

Errol & Olivia
At the moment Errol & Olivia lags behind. For those of you interested in this book on Ms. Livvie and Errol, don’t worry. It doesn’t matter how far I may fall behind in word count, for whenever I write the fingers dance over the keys. This book has two goals: Bring Mr. Flynn and Ms. de Havilland to life while detailing their life and times between 1935 and 1941. The manuscript includes a prologue and an extensive epilogue. I am attempting a biographical approach that I’ve never seen before. Most of the writing about Flynn and de Havilland in book form (fully 60 percent) is repeated cliché, by that I mean that often the tomes merely repeat what has already been written. Truths and errors, and sometimes out-and-out lies, are repeated over and over again. Flynn and de Havilland were not, as unscrupulous writers have proclaimed, who you think they were (or in OdeH’s case, as she is). This book, and the following book on EF, will be the best two books I write. Patience is the key.

The Discovery
As the readers of my blogs know, I have partnered with Robert S. Goodman, MD, to produce a malpractice novel. The Discovery is Bob’s story idea and Bob has done a lot of work on the plot, including creating first class medical and legal detail. My job is to wordsmith and bring the characters and plot to life.

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Robert S. Goodman, MD, in his office on 30may2014. Bob & I had a good review/update meeting on May 28. We spoke on the phone on the 29th and per my request he was answering questions I had and reviewing the manuscript. I told I wanted additional photos of him and we agreed on the following day. On the 30th he had his review and answers ready for me. I have never partnered before, and I can’t tell you how happy that I have with Bob for I think that between us we can create a good novel. (photo © Robert S. Goodman & Louis Kraft 2014)

To do this I’m approaching it as if it were a thriller. That means that I must make the pages turn and hopefully prevent our readers from going to bed at night. For this type of writing to work, really work, and capture a reader’s imagination it must have a voice. To do this I’m using an approach I’ve never done before: I’m writing as I read and mark-up Bob’s text. Before each time I meet with Bob to discuss status, I read my current draft and edit and rewrite it. The early chapters have been rewritten twice and the latter chapters once to date. This process will continue as I work my way through Bob’s manuscript. On May 28 Bob and I met for the second time to discuss the manuscript’s current status and to ensure that we are in agreement on how I’m proceeding and re-imagining his characters and plot. Currently my draft of The Discovery is 236 pages, and there’s still a long ways to go before I have a completed first draft. But trust me for my goal is doable and will happen.

Sand Creek and the Tragic End of a Lifeway
As stated above work is ongoing on Sand Creek and the Tragic End of a Lifeway, and the month of May has seen the best research and writing to date.

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OU Press Editor-in-Chief Chuck Rankin at the 2012 Western Heritage Wrangler awards in Oklahoma City. Chuck has always been there for me, and over the years he has had the patience to listen to me. He has taken the time to discuss matters in which we don’t agree and has given me the room to experiment and grow. Ned Wynkoop and the Lonely Road from Sand Creek was the runner up this year. (photo © Ownbey Photography 2012)

And, like The Discovery, the story is character-driven, and as such I’m approaching the writing as much as possible as if the story is a thriller. Obviously the writing can’t be totally that of a thriller, but the goal is again to not put the readers to sleep. Although this has been ongoing for a while a good portion of the text doesn’t reflect this yet. The reason is simple. Facts must be in place and hopefully as close as possible to what actually happened. If facts must be deleted or fixed there is no point in rewriting them until they are as close to truth as I can make them.

Fingers are crossed that the upcoming time spent digging through the George Bird Grinnell Papers at the Braun Research Library will prove to be a goldmine for my Cheyenne research.

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I hope the above provides an update to my writing progress and gives you at least a hint of my creative world. …  There is only one constant in my life and that is Pailin. She is my life, and as a good friend of mine named Veronica Von Bernath Morra in Massachusetts said, “Pailin is your muse.” She is, and as long as I do everything possible to ensure that our relationship thrives and grows my writing will continue to thrive in its “golden age.” Reality? I don’t know. Probable? Bet on it.

A publicity blurb

The August 2014 Wild West magazine will reach newsstands in early June.

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People often ask if I win all my battles with editors and art directors. The answer is, “No, I don’t.” I lost a big battle with the Wynkoop art, for the art director insisted that it could spread over two pages without affecting or destroying the reason why I created the painting. I fought to keep my art on one page but lost. I had the option to kill the article; yes, the anger directed at me was strong and hateful (and I had faced it in the past) but I didn’t want to do this and luckily production moved forward. I had given into what I knew would ruin the image I created, and unfortunately my previous 20+ years of design work proved correct. Egotistic incompetency would never survive in the software world (too much money is involved; for example, the cost of my documentation suite in the space world was $100 Gs). Wynkoop’s face is so close to the spine of the magazine that the curled brim of his hat is lost which destroys the effect of his dramatic gaze toward the Indian battle line. That’s life. There’s a big lesson here for me and believe me I will never forget it: The essence of the work is always more important than the money it can earn. Always. (art © Louis Kraft 2013)

Egotism aside, “Wynkoop’s Gamble to End War” is perhaps the best magazine article I’ve written. I pitched it to Greg Lalire in 2012, and he later pitched me on two short pieces for the August issue. I agreed as long as I could write what I wanted. “Must See, Must Read” is usually a plot summary of five films and five books. Greg agreed that I could deal with what the films and books meant to me. The other is ‘Wild West’s Top 10 List.” Usually this list is one column and less than a full top to bottom page. I counter pitched why Wynkoop was a major player during the 1860s Cheyenne wars, and he agreed to the idea. You know by now that I’m wordy. It’s two columns top to bottom of page and Greg needed to point to the Wynkoop/Gamble article to make it fit.