Elizabeth Rogers has always wanted to be a doctor. But before the turn of the 20th century, woman doctors were not accepted. Elizabeth is determined and knows this is the path she is to take, but why so many obstacles?

Snelling alternates between the comfortable rural family life of Thor and Elizabeth's more sophisticated upper class atmosphere with ease. We are given many insights into Minnesota farm living and rural life as well as the life of a family in a more urban setting in the late 1800's. Snelling's writing is very simplistic and although she may not have intentionally aimed it at young adults, it would certainly appeal to teens who are searching for God's plan for their life.

This book displays how God's will for our lives may not be as clear cut as we would hope and that we must continually seek him and have faith in His plan.

--- reviewed by Robin for Christian Bookshelf

I found myself in awe of what these homesteaders accomplished. The style of writing made for a quick read, and I have found myself going back to the book to re-read it about 2 times per year. Some details I have nearly committed to memory. I can't think of very many books that I can so enjoy when re-read- ing them.

Ok, I will be the first to admit that everything I know about cows can be found in a Burger King wrapper. So when I was given this book by a friend at work, I thought, "Oh joy. A book about ranching. Just what I need to cure my insomnia."
I flipped through the pages, just to be polite, and read the passage on pets. I was immediately drawn back to my own childhood exhortations of "Please, can I keep him Mom?" Fifteen minutes later, I was thoroughly ensconced in the book, my work forgotten.

Don't be fooled by the title. "Do you, Rachel, take Ranching for Better or for Worse" is not just a book about cows. It is a book which touches on the everyday aspects of our lives: Children, pets, spouses, friends, and careers, and all of it is viewed with with a certain equanimity and a wry, gentle sense of humor.

Rachel Klippenstein has captured the essence of Americana in this deceptively humorous book about the life of a ranching family. It is definitely worth reading. Just don't take it to work.

Some other reviewers have criticized Herman Viola's inclusion of the accounts of Custer's Crow scouts, as if Viola is somehow doing a disservice to scholarship. However, I don't think he is necessarily presenting these accounts as gospel. Viola acknowledges the inconsistencies between witnesses' stories, but he gives the Crow a chance to speak for themselves, which seems like a good thing to me.

Perhaps by publishing these little-known testimonies, Viola will encourage other Indian sources to share their knowledge of Little Bighorn while that knowledge still exists.

The first two chapters of the book concern the antecedents leading up to the Indian confrontation with Custer and the 7th Cavalry. These included Custer's own pre-dawn attack on a sleeping Cheyenne village under the leadership of Chief Black Kettle on the Washita River in 1868 and an earlier similar attack on Plains Tribes camping at Sand Creek in 1864. In both instances dozens of men, women, and children were hunted down and shot and their bodies butchered. In the 1868 attack even the Cheyenne pony herd, some 900 animals, was also killed, severely crippling the people's ability to pursue their traditional lifestyle. The narrative of these two chapters is filled with unfulfilled promises and broken treaties with Native Americans in the furtherance of US territorial expansion during the 19th Century. Certainly anyone familiar with the attitudes of Europeans toward technologically less advanced populations world wide in areas they wished to exploit will recognize the pattern.

The remainder of the book is divided into chapters each dealing with various perspectives on the battle of the Little Bighorn. Here is where the book rises above others on the subject, for Viola makes use of very diverse sources in his effort to thoroughly and fairly cover the subject .

Included are the oral histories passed on by the Indian participants, stories from the Cheyenne and the Dakota on one side and from the Crow and Arikara scouts with Custer on the other. Probably the most interesting part of this material is the fact that not all Plains Indians felt the same about the coming of the army into the area. In fact the imperialism of the US government was actually superimposed upon on-going events among traditional enemies within the community of local people. The long standing enmity of certain groups actually facilitated the ultimate defeat of the Plains Indians. Even allies weren't necessarily of one mind and still are not. A popular saying among the modern Cheyenne is that "The Sioux got the glory, the Crows got the land, but the Cheyennes did the fighting(p. 27)."

Also among the narratives are notes left by Edward S. Curtis who undertook the mission of creating a photographic preservation of Native American Indian lifestyles before they disappeared. During the pursuit of this work Curtis took the opportunity of covering the battle site in the company of three of Custer's Crow scouts. From information about events provided by these individuals he came to the conclusion that the battle had not proceeded as recorded thirty years previously. His intent to publish his conclusions in his project was discouraged by President Theodore Roosevelt, primarily because the latter was concerned that pro-Custer factions would ruin Curtis. The information was preserved and given over to the National Museum of American History by his son Harold just prior to Harold's death at the age of 95 in 1988.

Among the "documents" preserving the Battle at Little Bighorn are the Indian drawings of the event of which Viola includes illustrations of many. Though simple line drawings they give every bit as clear an image of the violence and carnage of the battle field as do the photo images of the Civil War. Included are drawings by the Dakota, Red Horse, and some etched drawings by an unknown artists on flattened metal from trade kettles. Also presented, many for the first time, are some of the victory memorabilia collected from the battlefield and preserved by family members of the Indian participants through the generations.

A fire across the battlefield in 1983 made an archaeological examination of the site possible and almost imperative. Application of modern techniques to the charting, recovery and analysis of the material remains on the site by professionals and trained volunteers in the decade between 1985 and 1995 have allowed a reinterpretation of what occurred and an external verification of the stories of various participants. (For a more in-depth account of which see my review of "They Died With Custer : Soldiers' Bones from the Battle of the Little Bighorn.")

Among the most amazing reports of the battle and its events is that of the contribution of suicide to the death toll. Apparently the notion of torture at the hands of Indian combatants, fostered in part by the tradition of post mortem mutilation of enemy bodies (to prevent their full enjoyment of the afterlife) produced a "save the last bullet for yourself" mentality that led to a far higher mortality than might have occurred. One Indian witness reported having seen a man "murder" a compatriot and than shoot himself. Apparently he was not the only individual to have seen this puzzling behavior either.

Probably the most arresting facets of Viola's book, and certainly the ones I found most enjoyable, were the many rotogravure/tintype portraits of the various American Indian personalities involved in the drama of the Plains. The faces are filled with dignity, composure, and intelligence. It leaves the viewer with a sense of compassion and loss. One wonders what the country might have been like had the two worlds learned to coexist more peacefully and to learn from one another.

It's ironic that Blake originally despised Custer while writing DANCES WITH WOLVES then, later, found he liked Custer after all. If only he could have written about Custer's last days with more passion and ambition, yet, he did not.

I do NOT think this is a good book to start one's discovery of Custer. For that, I'd strongly recommend Louise Barnett's TOUCHED BY FIRE.

Don't expect a nice guy who dances with wolves. This one kills with "Wolverines."

Penned by the best-selling author/Academy Award-winning screenwriter of DANCES WITH WOLVES, in Michael Blake's MARCHING TO VALHALLA we again journey West to the savage frontier of post-Civil War days. Only this time our guide's no Indian lover -- he's an Indian fighter. And an immortal legend. George Armstrong Custer.

But as we accompany him on this journey through uncharted territory, we discover -- soul-wrenchingly -- he's as mortal as the rest of us.

It is 1876. On a long march to what Custer hopes will be his most glorious campaign, he decides to record his daily thoughts and observations, as well as the events that led him here, in his Journal. It is through this Journal that we enter the secret catacombs of his "true heart."

The skeletons of fallen Confederate soldiers unearthed by rain. The dark entombment of Custer's dreams during his court martial and suspension from military duty. The taste of blood-lust, more satisfying than the finest wine, when he commands the brigade known as "Wolverines" on the battlefield. And piercing the mists as magically as the rainbow-colored suns he glimpsed during the Washita Campaign, the love Custer shared with his wife, Libbie.

Through Custer's eyes we see the beauty of the prairie flowers, the way light "dances" through the cottonwood leaves. And through his eyes we see the horrors of war. Battlefield carnage. Three mutilated bodies found at a stage station. The senseless burning of a Cheyenne village.

Michael Blake's a master, and his imagery flows like warm, golden honey. His words ambush us and hold us captive. But secretly we hope he'll never let us go.

When Blake sends us riding across the plains to that final destination, Custer's thoughts whisper tragically through our own hearts. And for that brief, flickering moment we know the name of the horse we ride -- Fate.