Fifteen Thousand Miles By Stage 1877 1880

The first volume takes the Strahorns, tireless scouts for the expanding railroad, through Nebraska, Colorado, Utah, Wyoming, Idaho, New Mexico, Montana, Washington, and Oregon in the late 1870s. They experience every kind of discomfort, mishap, and peril as their Concord coach bumps down corduroy roads. Adell writes that she was "the first woman in many then unexploited regions" of the West. After she and Pard reach the West Coast in 1880, their lives take another adventurous turn, described vividly in Fifteen Thousand Miles by Stage: Volume 2, 1880–1898. Both volumes are illustrated by Charles M. Russell and others. In her introduction, Judith Austin, coordinator of publications at the Idaho State Historical Society, tells more about the peripatetic Strahorns, who finally settled down in Spokane.

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The Surprising Story of the Plucky Drivers, Shrewd Owners, and Ruthless Robbers Who Snubbed the Rules As pervasive as stagecoaches (popularly known as shake-guts) were in the early years of America, it shouldn’t be surprising that women who possessed a significant dose of grit and an ounce of entrepreneurial spirit engaged in one way or another in stagecoach enterprises. Though their contributions to stagecoach history were often overlooked, women drove stagecoaches, groomed and shod the stage horses, hoisted mailbags and boxes of gold bullion, negotiated contracts, bought and managed stage lines, defended (with their six-shooters) their cargo from bandits, and robbed stages in addition to fulfilling their traditional roles as housekeepers, cooks, and laundresses—and, oh yes, mothers to multiple children. Stagecoach Women offers an expansive overview of stagecoach history in the United States enriched by the personal stories of women who contributed to the evolution and success of a captivating facet of American history. Prepare for a teeth-rattling, romance-shattering journey that jolts away preconceived notions about women and stagecoaches and surprises with its twists and turns.

Whether seen as a land of opportunity or as paradise lost, the American West took shape in the nation's imagination with the help of those who wrote about it; but two groups who did much to shape that perception are often overlooked today. Promoters trying to lure settlers and investors to the West insisted that the frontier had already been tamed-that the only frontiers remaining were those of opportunity. Through posters, pamphlets, newspaper articles, and other printed pieces, these boosters literally imagined places into existence by depicting backwater areas as settled, culturally developed regions where newcomers would find none of the hardships associated with frontier life. Quick on their heels, some of the West's original settlers had begun publishing their reminiscences in books and periodicals and banding together in pioneer societies to sustain their conception of frontier heritage. Their selective memory focused on the savage wilderness they had tamed, exaggerating the past every bit as much as promoters exaggerated the present. Although they are generally seen today as unscrupulous charlatans and tellers of tall tales, David Wrobel reveals that these promoters and reminiscers were more significant than their detractors have suggested. By exploring the vast literature produced by these individuals from the end of the Civil War through the 1920s, he clarifies the pivotal impact of their works on our vision of both the historic and mythic West. In examining their role in forging both sense of place within the West and the nation's sense of the West as a place, Wrobel shows that these works were vital to the process of identity formation among westerners themselves and to the construction of a "West" in the national imagination. Wrobel also sheds light on the often elitist, sometimes racist legacies of both groups through their characterizations of Native Americans, African Americans, Mexican Americans, and Asian Americans. In the era Wrobel examines, promoters painted the future of each western place as if it were already present, while the old-timers preserved the past as if it were still present. But, as he also demonstrates, that West has not really changed much: promoters still tout its promise, while old-timers still try to preserve their selective memories. Even relatively recent western residents still tap into the region's mythic pioneer heritage as they form their attachments to place. Promised Lands shows us that the West may well move into the twenty-first century, but our images of it are forever rooted in the nineteenth.

In 1911, Carrie Strahorn wrote a memoir entitled Fifteen Thousand Miles by Stage, which shared some of the most exciting events of 25 years of traveling and shaping the American West with her husband, Robert Strahorn, a railroad promoter, investor, and writer. That is all fact. Everything She Didn't Say imagines Carrie nearly ten years later as she decides to write down what was really on her mind during those adventurous nomadic years. Certain that her husband will not read it, and in fact that it will only be found after her death, Carrie is finally willing to explore the lessons she learned along the way, including the danger a woman faces of losing herself within a relationship with a strong-willed man and the courage it takes to accept her own God-given worth apart from him. Carrie discovers that wealth doesn't insulate a soul from pain and disappointment, family is essential, pioneering is a challenge, and western landscapes are both demanding and nourishing. Most of all, she discovers that home can be found, even in a rootless life. With a deft hand, New York Times bestselling author Jane Kirkpatrick draws out the emotions of living--the laughter and pain, the love and loss--to give readers a window not only into the past, but into their own conflicted hearts. Based on a true story.