DOWN THE SANTA FE TRAIL AND INTO MEXICO: The Diary of Susan Magoffin

“My journal tells a story tonight different from what it has ever done before.” – Susan Shelby Magoffin

In November 1845, Susan Shelby, age 18, married Samuel Magoffin, age 45. Eight months after their marriage they embarked on a journey down the Santa Fe Trail that would conclude fifteen months later in Chihuahua, Mexico. On her journey she kept a journal which began with the above quote.

Susan had been born into a wealthy and influential family on a Kentucky plantation. In fact, her grandfather had been the first governor of the state. Her husband was a prosperous trader who had accumulated a sizeable fortune while engaging in the Santa Fe trade.

To protect against marauding bands of Indians, especially the feared Comanche, the traders traveled in large caravans, and the Magoffin entourage made up a large part of this particular caravan.

Susan described it this way:

“We now numbered, ourselves only, quite a force. Fourteen big waggons, with six yoke [oxen] each, one baggage waggon with two yoke, one Dearborn with two mules (this concern carries my maid), our own carriage with two more mules and two men on mules driving the loose stock, consisting of nine and a half yoke of oxen, our riding horses two, and three mules….we number twenty men, three are our tent servants (Mexicans). Jane, my attendant [maid], two horses, nine mules, some two hundred oxen, and last, though not least our dog Ring.” 

A carriage, servants, an attendant? Well, that isn’t the whole picture. One of the servants was a cook. The other tent servants’ jobs included staking out a large tent at the end of each day in which the Magoffins would spend their evenings. Luxuries inside the tent included a bed and mattress, table and chairs, even a carpet to spread on the floor.

Pretty cushy, eh? But have you ever traveled through Kansas, Colorado, New Mexico, across the Rio Grande, and deep into Chihuahua, Mexico? Riding in a carriage pulled by a team of mules? I have made that trip – at least as far as the Rio Grande – not in a carriage pulled by mules but in a vehicle equipped with a heater and an air conditioner. I ate my meals in restaurants and spent my evenings in a motel. I made it to the Rio Grande in three days.

My point is that despite servants and all the accouterments Susan possessed, her journey was no cakewalk. And instead of three days, it lasted fifteen months.

Susan Shelby Magoffin

Adding to the drama of the venture was the fact that war had broken out between the United States and Mexico. In fact, the Magoffin caravan traveled west in the wake of the invading American army.

One day after her nineteenth birthday she suffered a miscarriage at Bent’s Fort in southeastern Colorado. From that point on her health forced the Magoffins to spend lengthy stays along the way in order to allow her to recover from various ailments.

Despite the travails of the trail and her illnesses, Susan’s natural curiosity led her to faithfully write in her journal almost every day, in which she described everything: hardships, land and climate, flora and fauna, and people, including the Indians and Mexicans that she encountered.

In addition to her writing about her miscarriage at Bent’s Fort, she had this to say about her stay there:

“There is no place on Earth I believe where man lives and gambling in some form or other is not carried on. Here in the Fort, and who could have supposed such a thing, they have a regularly established billiard room! They have a regular race track. And I hear the cackling of chickens at such a rate some times I shall not be surprised to hear of a cock-pit.”

Her journal ends abruptly due to the fact that she contracted yellow fever in Matamoras, a time in which she gave birth to a son who did not survive.

The Magoffins returned to Kentucky in 1848 and later moved near St. Louis where Samuel purchased a large estate. Susan gave birth to two daughters, but her health further deteriorated and she died in 1855 at age twenty-eight. She is buried in the Bellefontaine Cemetery in St. Louis.

Historians of the western movement will be forever indebted to this bold and adventurous young woman and her colorful journal, originally published in 1926, that provides them with a first person account of life on the Santa Fe Trail.

In commemoration of her journey, a seven-foot high bronze statue of Susan Magoffin holding her journal was unveiled in El Paso, Texas in 2012.  At her side is Ring, her faithful dog.  

TO HELL ON A FAST HORSE: BILLY THE KID, PAT GARRETT, AND THE EPIC CHASE TO JUSTICE IN THE OLD WEST by Mark Lee Gardner

Let’s begin with a movie question. What historical individual has been the subject of more films than any other individual?

Yep, that would be Henry McCarty aka Henry Antrim aka “Kid” Antrim aka Billy Bonney aka “The Kid” aka “Billy the Kid.” Beginning in 1911, more than fifty films have been produced with him as a character – and nearly always as the principal character. It is difficult to pinpoint the best of the lot, but the bottom of the barrel is Billy the Kid vs. Dracula(1966), brought to you that same year by the same folks who made Jesse James Meets Frankenstein’s Daughter. Do I need to say that that they were both fictional? But all the movies dealing with these two most famous of all Western outlaws were fictional to some degree or the other.

There was even a B-Western series in the ‘40s, first starring Bob Steele and later Buster Crabbe, in which Billy was the hero. In these films he was a wanted outlaw, but he had been falsely accused, you see, and roamed the frontier doing good deeds, winning over people, and attempting to clear his name. Since he had no visible means of support, I’m not sure how he and his sidekick (they were required in B-Westerns, you know) survived financially, but they did.

There were four stage productions, one written by Gore Vidal, featuring the Kid and one TV series, The Tall Man, starring Barry Sullivan as Pat Garrett and Clu Gulagher as Billy. The series further advanced the myth that the two were best pals. They weren’t.

People as diverse as Woody Guthrie and Billy Joel have written and sung songs about the young outlaw, who died at age twenty-one. Unlike most outlaws, however, he did not die with his boots on; he had removed them shortly before being shot and killed by Sheriff Pat Garrett.

Billy

And books? There have been as many books – maybe more – about Billy than there have been movies. Some are no more than purveyors of the myth without regard for the truth; some are works of historical fiction; and a few have been serious works of history and biography.

Mark Lee Gardner’s To Hell on a Fast Horse falls into the last category. The subtitle, The Untold Story of Billy the Kid and Pat Garrett, and the Epic Chase to Justice in the Old West, informs us that it is a dual biography, which to my knowledge no writer has heretofore attempted.

However, I do take issue with the subtitle, at least the “Untold Story” part of it. Personally, I don’t think that I learned anything about Billy from reading the book, if so it would have to be a minor detail or two. What I did learn, however, and it was certainly “Untold” as far as I was concerned, is what Pat Garrett’s life was like after he shot and killed Billy at Fort Sumner, New Mexico in 1881. 

I knew that he continued his career as a respected lawman for a number of years and that he died ignominiously on a lonely road near Las Cruces, New Mexico. He was shot from behind while urinating on the side of the road. There has been much speculation about what happened, but the mystery of his murder has never been officially solved.

Pat

What I didn’t know is that he was a rotten businessman, who made many poor decisions. Although he was a successful lawman, the job didn’t pay much – and he had a wife and eight children to support. So he dabbled in ranching and other business sidelines without much, if any, success. His efforts were hampered by his penchant for breeding race horses – slow ones, apparently – and placing bets on horses at race tracks – slow ones, apparently.

Gardner’s book is a thorough look at both men’s lives. If you don’t know the details about Billy’s life – and would like to – or if you aren’t familiar with Garrett’s post-Billy years – and would like to be – this is the book for you. Unlike many who write about Western lawmen and outlaws, Gardner has no ax to grind. He doesn’t take sides. His book is a quest for the truth and is probably as close to it as we will ever come. 

****** 
“The double-helix relationship between Billy the Kid and Pat Garrett is one of the abiding fascinations of the West. No one has come closer than Mark Lee Gardner to capturing their twin destinies, and their inevitable final collision. Gardner’s research is so richly detailed, you can almost smell the gun smoke and the sweat of the saddles.” – Hampton Sides, author of Blood and Thunder

Mark

IN THE KINGDOM OF ICE: The Grand and Terrible Polar Voyage of the USS Jeannette by Hampton Sides

In the fall of 2006, I drove from Santa Fe to Taos, New Mexico and walked into the Kit Carson Home and Museum. When I entered I spotted an individual sitting behind one table while another nearby table held a stack of books. It was obvious that he was a writer promoting a book.

Taos, which hosts a number of festivals and celebrations every year, can be a busy little village at times, but not that day. There wasn’t much going on. In fact, there were only two other visitors besides me in the museum and they were indicating no interest in the book. More out of a sense of compassion than anything else, I walked over to the table containing the books, and when I looked at the cover I immediately recognized the author’s name. It was Hampton Sides.

I recognized his name because I had just recently read one of his other books. Ghost Soldiers, published in 2001, the story of a successful World War II mission to liberate over five hundred POW's being held in the Philippines, including the last survivors of the Bataan Death March, was a well-told tale of heroism.

I thought Ghost Soldiers was an excellent book about a little known, but extraordinary event and this new book, Blood and Thunder, really aroused my curiosity, too. It is the story of a controversial chapter in the life of Kit Carson. Most people know that he was a mountain man, trapper, explorer and scout, but few know that he was a union officer during the Civil War, and that in that position he played a major role in the brutal subjugation and repression of the Navajos. 

So, what more appropriate place to promote a book about Kit Carson than in the Kit Carson Home and Museum? Appropriate, yes; successful, no.

Naturally, I purchased a copy, not out of compassion, but because I was hooked by the subject matter. Because nobody else was taking up any of his time, I not only had a signed first edition, but I was able to hold a rather lengthy conversation with him, in which I was able to tell him how much I had admired his earlier book. I found out that he was a native of Memphis, Tennessee and that he lived in Santa Fe, which is not all that far from Taos. It turned out to be a good day for me, but I'm afraid not a profitable one for him.

Well, you may know that the critics praised Blood and Thunder to high heaven and that the book became a best seller, and that a film adaptation is even in the works.



In 2010, Hellhound on His Trail was another critical and popular success. The subtitle tells the tale: The Stalking of Martin Luther King, Jr. and the International Hunt for His Assassin.  And it too may become a film.

It goes without saying that a lot of readers besides me have discovered Hampton Sides. The critical acclaim for all three has been, as far as I can tell, almost universal.

What could he possibly write that would top his other books? Well, how about writing about an arctic expedition that nobody remembers? Not a good idea? But how many people knew about that WWII rescue mission or Kit Carson's Civil War experiences?

The result is In the Kingdom of Ice and I think it is as good, and in some respects even better, than his other work. The subtitle tells us much about this book, too: The Grand and Terrible Voyage of the USS Jeannette. It is the story of George Washington DeLong’s attempt in 1879 to sail his ship and its crew to the North Pole. The expedition was based on the faulty notion that if a ship could break through the ice barrier that it would sail into an open polar sea. Unfortunately, after only two months the ship, the three-masted and steam-powered Jeannette, became entrapped in ice at the 72nd parallel and remained confined for two years, drifting with the ice pack. 

What follows is a harrowing tale of gritty and desperate determination by the crew of thirty-three to survive and return home despite the fact that they were a thousand miles from the nearest land.

Because I don’t want to ruin the story for others, I choose not to reveal what happened thereafter.

Sides’ great strength is that he is not only a thorough researcher and talented writer, but that he also knows how to tell a story. He graduated college with a degree in American history, but his background is in magazine journalism. Thus, he is an historian who became a journalist, rather than the other way around, which is more often the case. He is editor at large for Outdoor magazine and has written for various other publications including National Geographic and The New Yorker.

His work reminds me of that of three other writers whose admirable storytelling skills are such that they are able to write nonfiction that reads like a novel. Those three are Jon Krakauer, Sebastian Junger, and Nathaniel Philbrick. I once thought that Sides might someday rank with those writers, but I now think that with his latest book he has surpassed them.

Hampton Sides

FOUR FACES WEST (Sherman/UA, 1948)

DIRECTOR: Alfred E. Green; PRODUCER: Harry Sherman;  WRITERS: screenplay by C. Graham Baker and Teddi Sherman;  adaptation by William and Milarde Brent; based upon Eugene Manlove Rhodes novel, Paso Por Aqui;  CINEMATOGRAPHY: Russell Harlan

CAST: Joel MCrea, Frances Dee, Charles Bickford, Joseph Calleia, William Conrad, Martin Garralaga, Raymond Largay, Dan White, Eva Novak, Sam Flint, Forrest Taylor, William Haade, Gene Roth, Paul Burns


THE PLOT.
On the day that Pat Garrett (Charles Bickford) is being introduced to the citizens of Santa Maria, a cowboy by the name of Ross McEwen (Joel McCrea) robs the bank, which is easy to accomplish because every bank employee but one is down the street listening to Garrett give a speech.  A polite outlaw, he first asks for a loan of two thousand dollars.  When Frenger (John Parrish), the banker, asks him for collateral he pulls his six-gun and declares it all the collateral he needs.  He then writes out an I.O.U. for the money and signs it "Jefferson Davis."

Later we learn that McEwen in desperation has resorted to robbery so that he can send the money to his father who is about to lose his ranch. 

He forces the banker to ride out of town with him.  Once they have traveled several miles he leaves the banker without a mount or his boots and forced to walk back to town.  After arriving in town and announcing the hold-up, the incensed banker places a reward of three thousand dollars, dead or alive, on the head of McEwen.  That amount of money leads to a frenzied manhunt all out of proportion to the crime committed and includes not only Garrett and his deputy Clint (Dan White), but also members of a deputized posse as well as free-lancing bounty hunters.

While making preparations to board a slow-moving train, McEwen is bitten by a rattlesnake.  In a weakened condition, it is only with the aid of Monte Marquez (Joseph Calleia) that he is able to board the train.  Luckily, one of the passengers on the train is a nurse, Fay Hollister (Frances Dee), and she is able to treat McEwen's snakebite.  Fay feels an immediate attraction to McEwen and  senses that he is in some kind of trouble.  The attraction is clearly reciprocal.

Eventually, Ross and Fay arrive in Alamogordo where Fay will be working in a hospital.  Alamogordo was also Monte's destination.  He owns a saloon in that town.  He has befriended Ross on their journey and has helped the outlaw out of several tough spots along the way.  Now he helps Ross get a job working on a nearby ranch.  Ross sends some of the money that he earns on the job (and gambling) to the bank in Santa Maria to pay off part of the I.O.U. that he gave the banker.  However, he is forced to flee when Garrett and his deputy ride into town.  But before leaving, he gives Fay a ring.

Ross says goodbye

As he makes his way southward in an effort to reach the border, McEwen resorts to an unusual mode of transportation to escape from his pursuers.  He saddles a steer and rides it across New Mexico's White Sands.  The scene is wonderfully filmed by Russell Harlan, who had worked with Sherman on the Hopalong Cassidy series, which was the best photographed B-Western films of them all, and also on Sherman's other post-Hoppy Western, RAMROD (Sherman/UA).  In fact, Harlan's photography is one of the best qualities found in all of Sherman's exceptional productions.  He would go on to an outstanding career as one of Hollywood's best cinematographers.

McEwen is on the verge of making his way across the border when he stops to steal a horse.  Inside the house, however, he discovers a Mexican family of four, all stricken with diphtheria.  Does he ride on and escape into Mexico?  Or does he stay and do what he can for the family?  

  
Well, the answer is obvious, isn't it?  This is Joel McCrea after all. During the hold-up, he writes an I.O.U. and gives it to the banker.  Later, he even begins to pay the money back. He doesn't even fire a shot in the entire movie, but does neither Pat Garrett nor anyone else.  In fact, that is the one thing the film is noted for: a Western in which there is not a single gunshot.  Weapons are pulled and aimed, but never fired.

Of course he stays.  Eventually he even lights a bonfire in an attempt to attract help.  It works.  But guess whom it attracts.  How does it all end?  Revealing that would spoil the story.


THE PRODUCER.
In the history of Western movies, Harry "Pop" Sherman (1884-1952) was one of the more interesting producers.  Throughout most of his career, he was able to produce independent films that were then released and distributed by major studios.

He is best known for creating the production company that in 1935 began filming the Hopalong Cassidy B-Western series.  During those years, however, he also produced a number of one-shot B-Western specials that were always entertaining.  In the mid-40's, he turned over production of the Hoppy series to its star, William Boyd, and ventured into A-Western territory.  He produced BUFFALO BILL (1944) for Fox.  What followed was even better, two superior Westerns made by his production company and released through United Artists: RAMROD (1947) and FOUR FACES WEST (1948).  The three films, all starring Joel McCrea, are the last films produced by Sherman.  All in all, it was quite a good track record.


THE WRITER.
The screenplay was based on a short novel by Eugene Manlove Rhodes that was originally published in The Saturday Evening Post in 1926.  Its title, Paso Por Aqui (I passed here), was a reference to an inscription on a huge sandstone formation located in New Mexico.  The Spaniards had named it El Morro (The Headland) and the Anglos christened it Inscription Rock.  Today it is a national monument.

The National Park Service finds itself in the somewhat ironic position of protecting the old inscriptions while attempting to prevent any modern additions.
 
As a result of his days as a cowboy and rancher, Rhodes had an intimate knowledge of this part of New Mexico.  Not only did he live there, but he is  buried there in the San Andres Mountains. 

The inscription on Rhodes gravestone reads "Paso por aqui"

Of course, the screenwriters, which included Harry Sherman's daughter, Teddi, took liberties with Rhodes' original story.  They modified the ending and added the romance angle.  There was a nurse in the original story, but there was no romantic attachment.  The screenplay also makes Pat Garrett something he was not, a U.S. marshal.  The real Garrett was a county sheriff as he was in Rhodes story.  Rhodes would have known that since he was personally acquainted with the lawman.

Pat Garrett

Eugene Manlove Rhodes

The title was changed, too. Monte explains the meaning of the paso por aqui inscription on El Morro to Ross and Fay, but it was not retained as the title.  It is impossible to explain the title that was selected.  I suppose the four faces are represented by Ross, Fay, Monte, and Pat Garrett.  However, the movement in the film is not toward the West, but always southward.


THE CAST. 
McCrea made his first film appearance in 1924 and was given his first lead role in THE SILVER HORDE (RKO, 1929), an outdoor adventure yarn set in Alaska.  For the next fifteen years, the versatile actor went on to star mostly in comedies and melodramas, but also an occasional Western.  But beginning with BUFFALO BILL in 1944, McCrea would star almost exclusively in Western films.

In a 1978 interview, McCrea was quoted as saying: "I liked doing comedies, but as I got older I was better suited to do Westerns. Because I think it becomes unattractive for an older fellow trying to look young, falling in love with attractive girls in those kinds of situations...Anyway, I always felt so much more comfortable in the Western. The minute I got a horse and a hat and a pair of boots on, I felt easier. I didn't feel like I was an actor anymore. I felt like I was the guy out there doing it."

 

Mr. and Mrs. Joel McCrea

Frances Dee and Joel McCrea were one of Hollywood's great romantic teams.  No, not because of the films they appeared in, but because they were married to each other for fifty-seven years.  They met during the filming of THE SILVER CORD in 1933.  They married that year and went on to appear together in three other films, with FOUR FACES WEST being the last one. Dee made her final film appearance in GYPSY COLT in 1954.  

McCrea died in 1990 on the date of the couples' fifty-seventh anniversary.  Dee lived another fourteen years, dying at age ninety-six.

Bickford and Dee

Charles Bickford was one of Hollywood's greatest supporting actors.  He received nominations for an Academy Award for his supporting roles in THE SONG OF BERNADETTE (1943), THE FARMER'S DAUGHTER (1947), and JOHNNY BELINDA (1948).  He gave strong performances in Western films such as DUEL IN THE SUN 1947), THE BIG COUNTRY (1958), and THE UNFORGIVEN (1960).  

In fact, his last film role was in a Western: A BIG HAND FOR A LITTLE LADY (1966).

He was at his peak as a supporting actor at the time that he appeared in FOUR FACES WEST.  In it, he is one of the screen's best Pat Garretts.    

Joseph Calleia was not Hispanic, though he was often cast as one.  He was born Giuseppe Maria Spurrin-Calleja on the island of Malta.  His other Western roles include THE BAD MAN OF BRIMSTONE (1937), MY LITTLE CHICKADEE (1940), WYOMING (1940), BRANDED (1951) and John Wayne's THE ALAMO (1960).

Joseph Calleia

*****
THE REVIEWS

Brian Garfield wrote in Western Films: A Complete Guide that FOUR FACES WEST is "a splendid example of what a low-budget Western can be; its excellence is such that it can make you feel as if you've never seen a Western before."

A reviewer with the New York Times wrote that "FOUR FACES WEST emerges not only as a surprising film, but as an adult and edifying film."

Both FOUR FACES WEST and Sherman's earlier film, RAMROD, received generally good reviews.  Today they are considered to be two of the best Westerns of their era.  Unfortunately, however, neither did well at the box office and Sherman never produced another film.