Miss Morissa is a dramatic, moving novel of a young pioneering woman doctor on the brawling Nebraska frontier of the 1870s. Fleeing the East and a heartbreaking past, Morissa Kirk finds the North Platte River Valley rife with rumors of gold strikes. Fortune hunters, desperadoes, horse thieves, murderers make up the frontier society, while Indians roam the plains refusing to surrender their land to the gold-hungry white men. Near lawless Clarke Bridge she sets up her practice, treating white and Indian alike, receiving horses (if anything) in return for her services. Then, even as fame spreads of her skill, and acceptance slowly grows, Morissa becomes embroiled in the life-and-death struggle between the cattlemen and the homesteaders, a struggle as destructive as it was inevitable. In the telling of Morissa's story, Mari Sandoz has caught the whole turmoil of the changing frontier in the days of Custer, Calamity Jane, and Buffalo Bill Cody.

Mari Sandoz, born on Mirage Flats, south of Hay Springs, Nebraska, on May 11, 1896, was the eldest daughter of Swiss immigrants. She experienced firsthand the difficulties and pleasures of the family's remote plains existence and early on developed a strong desire to write. Her keen eye for detail combined with meticulous research enabled her to become one of the most valued authorities of her time on the history of the plains and the culture of Native Americans. Women in the Writings of Mari Sandoz is the first volume of the Sandoz Studies series, a collection of thematically grouped essays that feature writing by and about Mari Sandoz and her work. When Sandoz wrote about the women she knew and studied, she did not shy away from drawing attention to the sacrifices, hardships, and disappointments they endured to forge a life in the harsh plains environment. But she also wrote about moments of joy, friendship, and--for some--a connection to the land that encouraged them to carry on. The scholarly essays and writings of Sandoz contained in this book help place her work into broader contexts, enriching our understanding of her as an author and as a woman deeply connected to the Sandhills of Nebraska.

Forget Doris Day singing on the stagecoach. Forget Robin Weigert’s gritty portrayal on HBO’s Deadwood. The real Calamity Jane was someone the likes of whom you’ve never encountered. That is, until now. This book is a definitive biography of Martha Canary, the woman popularly known as Calamity Jane. Written by one of today’s foremost authorities on this notorious character, it is a meticulously researched account of how an alcoholic prostitute was transformed into a Wild West heroine. Always on the move across the northern plains, Martha was more camp follower than the scout of legend. A mother of two, she often found employment as waitress, laundress, or dance hall girl and was more likely to be wearing a dress than buckskin. But she was hard to ignore when she’d had a few drinks, and she exploited the aura of fame that dime novels created around her, even selling her autobiography and photos to tourists. Gun toting, swearing, hard drinking—Calamity Jane was all of these, to be sure. But whatever her flaws or foibles, James D. McLaird paints a compelling portrait of an unconventional woman who more than once turned the tables on those who sought to condemn or patronize her. He also includes dozens of photos—many never before seen—depicting Jane in her many guises. His book is a long-awaited biography of Martha Canary and the last word on Calamity Jane.

Mari Sandoz came out of the Sandhills of Nebraska to write at least three enduring books: Old Jules, Cheyenne Autumn, and Crazy Horse, the Strange Man of the Oglalas. She was a tireless researcher, a true storyteller, an artist passionately dedicated to a place little known and a people largely misunderstood. Blasted by some critics, revered by others for her vivid detail and depth of feeling, Sandoz has achieved a secure place in American literature. Her letters, edited by Helen Winter Stauffer, reveal extraordinary courage and zest for life. Included here are letters written by Sandoz over nearly forty years?from 1928, the year of her father's death and a critical one for her creative development, to 1966, the year of her own death. They allow memorable flimpses of the professional and private person: her struggles to learn her craft in spite of an unsupportive family and hard-won formal education, her experiences in gathering material, her relationships with editors and publishers, her work with fledgling writers, and her commitment to art and to various social concerns.