Ablah Library

Wichita, Kansas

By Abby Bayani-Heitzman

Filipino American writer Bienvenido “Ben” N. Santos had a complicated relationship with the Midwest. He first arrived in the United States in 1941 as a pensionado, or government-sponsored scholar, to study at the University of Illinois. After World War II, he settled into a career as an educator and taught as a Fulbright exchange professor at the University of Iowa before arriving in 1973 at Wichita State University. He served as a Professor of Creative Writing and Distinguished Writer in Residence until 1982, a period that coincided with his voluntary exile from the Philippines.

During the dictatorship of Philippine President Ferdinand E. Marcos (1965–1986), Santos’ 1982 novel The Praying Man was banned for its perceived criticism of the Marcos regime due to its depiction of political corruption. Although living and working in the Midwest kept Santos free from political persecution, it also distanced him from the country and culture he loved.

I first learned about Ben Santos and his writing while I was a student at Wichita State; as a Filipino American and aspiring writer in Kansas, his story really resonated with me, not least because of his ties to both the Philippines and the Midwest.

After learning about Santos, I started to look at the Wichita State campus differently. I imagined him frequenting Ablah Library, which holds a collection of his personal writings and was my favorite place to study and write. Although there is no sign or sculpture at Wichita State that visibly marks Santos’ time there, I felt that I was following in his footsteps whenever I walked along the path between the library and the English department offices. I also imagined how lonely it must have been for him while he was living so far from both his home country and the well-established Filipino American communities on the coasts.

Themes of geographic distance as well as the distance created by passing time permeate Santos’ stories set in the Midwest. In the 1955 story “The Day the Dancers Came,” Fil, an older Filipino man, eagerly awaits the arrival of a Philippine dancing troupe, planning to invite them to dinner and give them a tour of Chicago, where they are performing. Fil sees the young Filipinos as a way to reconnect with and relive the happy memories he has of his home country. However, his hopes are crushed when the dancers avoid and ignore his invitations.

Before the dancers’ performance, Fil gets the idea to record the audio of the performance—the stomping of feet, the shouting and singing in dialects—with what he calls his “sound mirror,” a portable tape recorder. In this way, he seeks to preserve the past forever, creating a way to immerse himself in his idealized memories through sound.

As a member of an earlier generation of Filipino immigrants, Fil is not only separated from the Philippines he left by a great distance but also by the cultural changes that happen over time. Having not been back to the Philippines since he left as a young man, Fil knows the country only as he remembers it and is reluctant to accept that that place no longer exists. For him, “time was the villain” because it creates a distance that can never be bridged. He knows that what is lost to time is lost forever, and that clinging to a memory can warp how a person perceives the present: “Like time, memory was often a villain, a betrayer.”

Fil records the performance, but in the end, he fails to preserve his sentimental memories of Philippines, its people, and its cultures. By accident, he partially erases the tape and is left with nothing but confused noise:

“Frantically, he tried to rewind and play back the sounds and the music, but there was nothing now but the full creaking of the tape on the spool and meaningless sounds that somehow had not been erased, the thud of dancing feet, a quick clapping of hands, alien voices and words: in this country… everything… all of them… talking eyes… and the scent… a fading away into nothingness, till about the end when there was a screaming, senseless kind of finale detached from the body of a song in the background, drums and sticks and the tolling of a bell.”

Santos seems to suggest that attempting to preserve the past according to subjective beliefs as to what is important is a fruitless struggle. His stories are often concerned with finding a sense of belonging amidst the changes of modernity, and Santos surely experienced these struggles himself while in the Midwest. However, he accepted the changes that life brought and became an American citizen in 1976, while he was living in Wichita. Eventually, he returned to the Philippines — one he may not have recognized but embraced nonetheless.

When I returned to the Wichita State campus to photograph Ablah Library, I was shocked to see all the construction and renovation going on around campus. The place was still recognizable, but I felt a little melancholy that some of my favorite spots might one day disappear or be replaced. Ironically, Ablah Library itself is an example of this kind of development; built in 1962, it was designed by John Hickman, a student of Frank Lloyd Wright, and was modeled after Wright’s “Prairie Style” that reflected the expansive landscapes of the Midwest through a dramatic emphasis on horizontal lines. The original long, low profile and details such as a concrete cantilevered balcony over the entrance were eventually obscured by new additions to the building.

The world is a palimpsest, constantly overwriting itself. Like people, cultures, and countries, places change with time. It’s unavoidable, and it’s often necessary, but that doesn’t make it hurt less when we lose what means so much to us. Even so, while I struggle to accept change, I take comfort in the fact that no one can ever really alter the past and the impression that it has left on me. When I visit the places that hold special meaning for me, I see ghosts, traces that show: this was a person, this was a place, and this really happened.

Abby Bayani-Heitzman was born and raised in northeast Kansas, where she continues to live and work. She received her MA in English from Wichita State University and participated in the second cohort of the Kansas Creative Arts and Industries Commission’s Critical Writing Initiative. Since 2020, she has served as coordinator for the Filipino American community organization Malaya Kansas, a chapter of Malaya Movement USA

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Riverside Park

Independence, Kansas

By Autumn Finley

Growing up in a flyover state, I never much considered the literary merit of my home in the southeast corner of Kansas. Apart from Laura Ingalls Wilder’s Little House on the Prairie, the novels I read were never set here. Then, in my senior year of high school, my drama teacher, Heather Wilson, introduced our class to the works of playwright William Inge. We were performing Picnic for the spring play, and we also read snippets of his other plays set in a fictionalized Independence, Kansas. I knew that Independence Community College had the Inge Center and the Inge Festival, but I had never processed that there was a famous playwright born and raised less than thirty miles from my family’s farm.

Learning about Inge made my corner of Kansas feel important. Our class took a field trip, looking at the homes in the historic areas of Independence to gain inspiration for our set. The professors at ICC opened the Inge home for our class to tour. It was then used as a home for their Playwrights in Residence program, and we saw the staircase and landing which likely inspired scenes in The Dark at the Top of the Stairs. We visited the Inge cemetery plot, paying our respects while marveling at how a literary giant rose to fame from our tiny corner of the lower Midwest.

However, the place I associate most with Inge is a small picnic spot by the Verdigris River, which can be accessed down a slight ravine beyond the larger picnic areas at the Riverside Park and Ralph Mitchell Zoo. A lone concrete table was nestled in the bottom of the ravine, time wearing it down to a pocked finish, but the area was well-kept and mown for park-goers.

As the spring semester of my senior year rolled to a close, with opening night looming, our cast met up for our own picnic by the Verdigris, overlooking the murky water and an old concrete bridge. We munched on our sandwiches, mulling the fleetingness of our youth, understanding that the innocence of our own childhoods was fading, much like the realizations many of the characters have throughout the play. Helen Potts, a middle-aged character, reflects on the juxtaposition of day-to-day life and the energy of the teenage and young adult characters, saying to her neighbor, “I feel sort of excited, Flo. I think we plan picnics just to give ourselves an excuse … to let something thrilling and romantic happen to us—” The play hinges on love, both romantic and familial, and how those bonds shape people’s choices and dreams. For me and my classmates, our own hopes and plans echoed around the picnic table, the sound eventually carried down the lazy Verdigris.

Now, all that remains of that concrete picnic table is the base that anchored it to the ground. The bridge has been reduced to its pillars, likely worn down by flooding and the passage of time. Despite the rubble and debris dotting a ravine along the bank, the area remains a serene spot to enjoy views of the park to the west and the tangled woods around the river to the east.

A few years after graduation, I took the time to watch the film version of Splendor in the Grass. I knew the screenplay was Inge’s, but I was impressed by how much control he managed to maintain over the set design. The film featured Natalie Wood as Wilma Dean (Deanie) and Warren Beatty as Bud, and there they were on my TV screen, cast into a familiar setting of clapboard houses and screened porches. In that technicolor Independence, Kansas, were the high school students clad like so many photos from yearbooks past, and there was that concrete bridge and picnic area, nearly identical to my childhood memories of the place. Although rendered a brighter green than I remembered, there was the park where I had played with my family before riding the carousel, which still only costs a nickel, the same place I had gathered with friends on field trips. That same place was depicted by the Hollywood-cast coeds, swimming, chatting, and enjoying the everyday pleasures of growing up in small-town USA.

The screenplay itself is a marvel—the storyline, plot, and dialogue rich with commentary about young love and lower Midwest culture in the early twentieth century, yet it was the set design that swelled my pride. Independence seemed so important and large on the screen, perhaps as important as the British settings I was used to studying in college. Inge saw the importance of those literary connections too, tying his work to William Wordsworth’s poem of the same title. In an early classroom scene, Natalie Wood as Deanie recites:

“Though nothing can bring back the hour

Of splendour in the grass,

Of glory in the flower,

We will grieve not, rather find

Strength in what remains behind”

This universal truth of innocence lost, growth, and distance in time persists as grass withers, dies, and grows again each year. Time moves forward despite personal and communal setbacks. Park benches and picnic tables are rearranged; bridges crumble and fade into memories. Still, we can take strength in the shared understanding of our community places. Inge bridged a gap in my understanding—that my childhood places were worthy of being a literary landscape.

Autumn Finley grew up in Altamont, KS, but has lived and studied in various communities across Kansas, Missouri, and Oklahoma. She is currently an Associate Professor of literature and composition at Southwest Baptist University in Bolivar, MO.

Photo by Liz Finley.

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Rural Kingman County

Murdock, Kansas

By Taylor Krueger

During Sarah Smarsh’s childhood, driven by poverty and necessity, she moved frequently between the Kansas prairie and nearby metropolitan Wichita. Born on the precipice of the 1980s Farm Crisis, Smarsh received an inheritance of generational poverty and a nomadic lifestyle. During her youth, she would move between Kingman and Sedgwick counties 21 times before she turned 18. Her experience of the Kansas landscape and the people who call it home deeply influence her work as a writer and journalist, highlighting economic inequality and culture in rural America and bridging the cultural divide between urban and rural spaces.

“The countryside is no more our nation’s heart than are its cities, and rural people aren’t more noble and dignified for their dirty work in fields. But to devalue, in our social investments, the people who tend crops and livestock, or to refer to their place as ‘flyover country,’ is to forget not just a country’s foundation but its connection to the earth, to cycles of life scarcely witnessed and ill understood in concrete landscapes.”

Like Smarsh, my roots run deep through the soil of the Kansas prairie. One side of my family has grown and harvested wheat in northwest Kansas for five generations. On the other, my grandfather was raised on a farm and began his career driving a Wonder Bread truck through southeast Kansas, delivering the final product to consumer’s grocery shelves. Intergenerational values of self-reliance, moderation, and grit are narratives that shaped my upbringing.

My first encounter with Smarsh’s writing was Heartland: A Memoir of Working Hard and Being Broke in the Richest Country on Earth (2018), which highlights the tension between rural values and the systemic issues that undermine them.

“I was raised to put all responsibility on the individual, on the bootstraps with which she ought pull herself up. But it’s the way of things that environment changes outcomes. Or, to put it in my first language: The crop depends on the weather, dudnit? A good seed’ll do ’er job ’n’ sprout, but come hail ’n’ yer plumb outta luck regardless.”

As a licensed marriage and family therapist, I’ve learned the context that shapes us is not evenhanded, contrary to the myth of meritocracy. The principles of self-reliance that have helped rural people endure harsh conditions for centuries are the same values that create barriers to mental health care. In a place where your value as a human being is dependent on being useful, shame becomes common. Many of my psychotherapy clients believe they are the source of the problem. My training in systems theory, however, leads me to highlight reciprocal relationships, emphasizing instead that individual problems are systemic, created by larger forces in the family, community, and society.

Smarsh describes her early years observing the doctrine of self-reliance in a trailer next door to a farmhouse owned by her Grandma Betty and her husband, Arnie. The farm was located west of Wichita in the lowlands of south-central Kansas, straddling the High Plains and the Red Hills, with distinct red-brown soil stretching across the horizon. To the north is Cheney Reservoir, a man-made lake used to provide a water supply to the people of Wichita, with boats bobbing on the surface and campgrounds lining the shore. The reservoir borrows water from the nearby Ninnescah River, which means “sweet water” to the Osage Nation, who would be driven off their land nearly a century before the reservoir was constructed.

On a winter afternoon, I drive slowly around unmarked roads near Cheney Reservoir towards Kingman County, witnessing the expanse of prairie earth, water, and sky. I park my car north of the unincorporated community of Murdock, population approximately 37, near a boundary of barbed wire. The sound of stillness familiarly greets my ears as I reorient myself to the “isolation of rural life,” that Smarsh describes in Heartland. In early February, the fields are hushed and hibernating. On an unseasonably warm day, the colors glare under the winter sun. The enormous sky is a bright, clear blue with sweeps of watercolor wispy white clouds low on the horizon. Red dirt sticks to the tires of my car. Green rows line wheat fields stretching forward to tree lines ahead, limbs barren until spring comes around again. I watch the roots resting quietly, pausing as the cold air sits still in anticipation. My father taught me that wheat knows intuitively in its cells the exact right moment to spring forth from the earth, green stalks transforming into waving gold strands for harvest. Undeterred by hailstorms, fire, and drought, the crop continues to grow and change. In this Kingman County wheat, I see the great mystery of knowing your roots are deeply planted, and still not knowing what will become.

There is a mystical relationship that ties Kansans to this land. Smarsh reminds us in Heartland that even in leaving, “no matter where you ended up, like every immigrant you’d still feel the invisible dirt of your motherland on the soles of your feet.” In the same way Kansans are connected to the land, she writes, we are also connected to each other:

“Of all the gifts and challenges of rural life, one of its most wonderful paradoxes is that closeness born of our biggest spaces: a deep intimacy forced not by the proximity of rows of apartments but by having only one neighbor within three miles to help when you’re sick, when your tractor’s down and you need a ride, when the snow starts drifting so you check on the old woman with the mean dog, regardless of whether you like her.”

Standing on the side of the road in Kingman County, with only the wind for company, I feel small in my skin. In this sea of grass and red dirt, I am engulfed by the beautiful, terrible, and uncontrollable earth. Yet, in my aloneness, I am comforted by the sight of farmhouses rising quietly ahead. Looking out at this wild, expansive ecosystem of the prairie, the generosity and gregariousness of small, isolated communities provide me with a sense of hope in the face of systemic ambiguity. Despite the great spaces between rural people, a unique camaraderie binds us together. I’m reminded of a principle in systems theory indicating how change in any one part of the system evokes change on a larger scale. Through her wisdom and writing, Sarah Smarsh calls for collective change in our communities by providing clear testimony about the people of rural America, the landscape, and the reality of systemic issues that affect us every day.

Taylor Krueger is a licensed marriage and family therapist providing psychotherapy to women and children in her rural community. She studied literature and psychology at Kansas State University, and received her Master of Science in family therapy from Friends University. She was raised in Rooks County, Kansas, and her writing is influenced by the places she has called home. She lives in Newton, Kansas, with her husband and two young sons.

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Vegetarian Settlement Company

Allen County, Kansas

By Pete Dulin

Concern loomed like a thunderhead in this untamed place. Miriam Davis Colt, her family, and other settlers intended to make their home in the Vegetarian Settlement Company, a planned community within Octagon City envisioned to become a city “of considerable wealth and importance.” Colt’s family arrived on May 12, 1856, at the proposed site in the Territory of Kansas, south of present-day Humboldt.

With the Missouri border in her wake, Colt beholds the vast Kansas Territory and its potential: “A broad green sea of prairie is spread out before us, and in the distance large mounds stretch themselves along the horizon.”

Soon, however, Colt realized the settlement was not developing according to plan. Six years later, she published a detailed memoir titled Went to Kansas: Being a Thrilling Account of an Ill-Fated Expedition to that Fairy Land, and Its Sad Results.

I drove two hours southwest from Kansas City, Missouri, to see this Fairy Land. A roadside historical marker divulged no secrets. Vegetarian Creek, woodlands, and grassy fields refused to gossip. Time, heartbreak, and death have eroded the imagined potential of this land.

Promissory plans for the Vegetarian Settlement Company originated in 1855 in New York City. A circular proclaimed that morally pure families could raise and educate children at the settlement away from “vice, vicious company, vicious habits of eating and drinking, and other contaminations of old cities.” Colt’s family and other investors sent significant funds, life’s savings for some, to underwrite the development, based on the circular and correspondence with company directors.

Unspoiled prairie and woodland suitable for settlement, farming, and investment near the Neosho River was only part of the allure. Colt believed her family would find community “with people whose tastes and habits will coincide with our own.”

Colt, her husband John, their young son and daughter, her sister, and her husband’s parents departed in mid-April. Traveling weeks from upstate New York led them to Kansas City. Oxen pulled supply wagons ten days toward the promised land. Arriving at nightfall, Colt’s rain- soaked party encountered men and women at the site cooking supper over a campfire and living in tents and wagons.

“The ladies tell us they are sorry to see us come to this place; which plainly shows that all is not right,” wrote Colt. Their lament was a harbinger of struggles ahead.

Settlers found no purported development or shelter from “furious prairie winds” and “terrific storms.” They ground corn with hand mills. Without a sawmill, they cut timber to fashion crude log cabins.

Summer’s blistering heat and plentiful mosquitos battered the spirits of these starving settlers. The river and creek yielded scarce, undrinkable water. Fever caused by malaria led to illness and death. Foraging, subsistence farming, and the generosity of distant neighbors provided meager sustenance. Colt wrote that Osage tribe members took tools and housewares and raided field crops. News of Kansas-Missouri border ruffians to the north spurred concerns.

Colt and her family abandoned the stillborn community four months later. Her sister and in-laws remained behind and died within months. Colt wrote on September 2, 1856, “We start out upon the world again. Many a dark shade has passed over us since last Spring.”

When I visited the settlement site, spring was still a month away. Bluebell, bloodroot, and prairie larkspur have yet to bloom. This soil was once fertile enough to plant dreams. What happens when fragile hope withers and roots immersed in the prairie do not take?

Colt’s experience prompts wonderment at my own mother’s uprooting and journey.

She met and married my father, a U.S. soldier stationed at a base near her home in central Thailand. Mom left her family, friends, and rural village in the early Sixties and emigrated to Kansas City, Kansas.

Love, hope, and opportunity do not fill an immigrant’s pockets. Wayfinding in life involves unexpected outcomes and consequences. Bearings may be lost along the path chosen.

Mom arrived at an unfamiliar place. Routines formed with each word spoken and decision made, and the fog of how little she knew slowly lifted. Understanding bloomed, its tender roots sunk into non-native soil.

She gradually learned English, earned citizenship, and acclimated to American customs. My parents eventually moved out of my grandparents’ home, bought a house in Kansas City, Missouri, and raised four children.

What happens when dreams exact unthinkable personal cost?

Colt and her beleaguered family stopped in Boonville, Missouri, en route to the “known world.” Her husband John, 40, and son Willie, 10, suffered from fever, malnourishment, and likely malaria. Willie died on September 24, three weeks after leaving the settlement. John perished on October 4, cradled in the “cold embrace of death.” Colt buried them, returned to New York, and bought a five-acre lot.

My mother remained entrenched despite life’s unpredictable storms – divorce, the death of a son, tangled family ties near and far, and health issues prompting thoughts of her mortality and legacy.

What happens when choices and consequences become uneasy cousins?

Colt and fellow settlers faced stark choices. Shed the weight of sunk costs, sever the cumbersome tether of hope? Colt sharpened her survival skills against the grindstone of trial and trauma.

She chose how to lead the remainder of her life, persevering to raise her daughter Mema, publish her tale for income, and establish a home and farm. Her memoir closed with a prayer to “have grace to bear all the remaining reverses that may come in my pathway.”

Footsteps from the past can no longer be heard. The settlement represents more than the sum of broken dreams. Their unrealized vision still exudes the faint residue of reality, a premise to ponder on our journey.

The territory is not new, only our presence on it. Leaving this land and thirsty creek bed, I deposit questions like seeds in soil foreign to me.

What remains when we depart a place? The lips of John and Willie offer no answers. Perhaps my mother knows.

Colt’s story implies that we eventually abandon the place we sought to settle. We will exit the land and return to earth. Death awaits, an assured outcome.

Until then, I am a vessel of my own making. I choose what to carry, what to leave behind. No oxen in sight. My wagon bears hope and conviction, fear and wonder, loss and what remains, grief, sorrow, some fortitude.

Our words and our will, they form within us, born of the same substance, depositing, eroding, ever shifting.

February wind blows against me. I head in that direction and return home, unsettled.

Pete Dulin is the author of Expedition of Thirst: Exploring Breweries, Wineries, and Distilleries Across the Heart of Kansas and Missouri, Kansas City Beer: A History of Brewing in the Heartland, KC Ale Trail, and Last Bite, and is currently working on his next book. A professional writer for more than 20 years, Pete’s work has appeared in many print and online publications. He lives in Kansas City, Missouri.

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Topeka High School

Topeka, Kansas

By Molly Hatesohl

There are many things in Room 103 of Topeka High School that evince its history. Designed in 1930 during the Collegiate Gothic Revival, its granite fireplace and wrought iron chandeliers imbue the classroom with scholastic grandeur. A prodigious display of THS Debate and Forensics memorabilia encircle the room, some photos of former champs more sun-faded than others. But perhaps the most conspicuous artifact hangs high on the back wall, dwarfing the surrounding images: an extra-large portrait of Ben Lerner. Though he is, these days, an accomplished writer teaching at Brooklyn College, this particular photo was taken after he won the 1997 National Speech and Debate Championship.

I first encountered this unsmiling relic in the fall of 2012, when I nervously entered 103 as a sweaty freshman with frazzled hair. As I walked in, the room filled with a sweet, ozonic smell emanating from the huge photocopier in the back corner. It was hard at work, churning out copies of that day’s reading, ripped from the most recent issue of Harper’s Magazine.

Forewarned about the fiery longtime debate coach Pam McComas, I was eager to prove myself.

Wasting no time, Pam gathered the printouts, licked a manicured finger, and tossed stacks of paper at us. The article was titled “A Contest of Words” and was, according to its subhead, an account of high school debate and the demise of public speech written by Ben Lerner. “The individual who wrote this essay,” she said, pointing at the portrait, “is known as the 1997 International Extemp Champion, AKA, my former student.”

I took in the image of the teenager standing over me posing with four giant trophies — straight-faced, oily-haired, and undeniably adolescent. Pam continued, “This will tell you not only everything you need to know about this activity but also how to craft language. In layman’s terms, this is how you beat people up with your words.” I got the sense this was a phrase she had enjoyed using for years.

I gave the text a cursory scan, only kind of understanding Lerner’s elevated prose. His portrait’s eyes stared over my shoulder as I tried to read.

For the next four years, it felt like neither milestone nor mistake could escape Ben Lerner’s scrutinizing gaze. Upon the wall he remained, ever watchful, as I researched the federal budget for transportation infrastructure (the 2012 Debate Resolution). He was there too, when I discovered my parents, who also practiced beating each other up with their words, had received marital counseling from Ben Lerner’s father, a well-known psychologist. I wondered if Dr. Lerner saw something of his son in my father, who was also a competitive high school debater. When, during my sophomore year, Pam confronted me about my apparent lack of motivation, and I confided in her about my parents’ bitter divorce, Ben was, in a way, the only other person in the room. I couldn’t help but feel like Ben Lerner continued to look down on me throughout the tenderest moments of my coming-of-age.

With adulthood, the scopaesthesia diminished. It wasn’t until earlier last year, as I stuffed my life into a U-Haul and relocated from Kansas to Chicago, that I recognized that exacting gaze.

Surrounded by unfamiliar landscapes, and longing for ways to relate to my hometown from a new home, I reached for Lerner’s 2019 novel The Topeka School. Adapted from my first reading assignment in Room 103, Lerner’s novel features a loosely fictionalized version of his high school self named Adam, who, on the cusp of both the National Debate and Forensics Championship and his own manhood, struggles to find his voice amidst the crescendoing chorus of conservative toxic masculinity reportedly endemic to Kansas.

But, what I hoped would reconnect me to the distinctive place I grew up turned out to be something far more disingenuous. Despite its title, The Topeka School is not a book about the unique, history-laden city, nor is it about the multifaceted people who live there. It is, as Lerner has described it, “a book about the prehistory of the bankruptcy of American political discourse.”

Being a prehistory, Lerner’s book assumes an archeological tone of supposed objectivity and encourages readers to do the same. Describing his teenage persona giving practice speeches with a coach, Lerner writes, “Weird to look through the window of the classroom door with the detachment of an anthropologist… and see these two men, if that’s what they are, arguing in an otherwise empty room in a largely empty school.” Suddenly, I was back in Room 103, this time looking down from high upon the back wall, watching my teenage self figure out how to find her voice, utterly incapable of extricating myself from that particular site of our shared history.

Lerner doesn’t write to me, a Topekan, the subject of his study, but to an outsider audience. It’s as if he were a foreign correspondent, reporting back to Brooklynites about trouble brewing on the homefront. In the novel, Adam’s parents worry about how Topeka’s conservative culture might influence their sensitive and intellectual son, whom Lerner characterizes to stand out against this homogenous red state background. Topeka and its high schools serve as a mutable backdrop against which Lerner paints an imaginary Trumpland, the primordial soup that incubated all that’s wrong with America today.

Maybe I would have bought it, had I not grown up in a version of Topeka from which Ben Lerner was impossible to subtract.

This is the problem with casting yourself as the anthropologist of your own culture. In the process of observing specimens, you too are leaving your trace, creating future fossils that others will find and use to construct their own subjective histories. Lerner’s portrait, an important artifact in my memory, was the index of another young person who became himself in the very same place I did.

I don’t wish to pretend that the phenomena Lerner describes in The Topeka School don’t exist. Topeka is full of working parents and latchkey kids, homophobes and misogynists, and white boys with anger issues, sure. So is New York. I also don’t wish to pretend that Lerner or I can be separated from this history simply because we had parents who embraced therapy or because we expatriated to blue state metropolises. Now, having left my hometown, trying again to find my voice, I’m thinking a lot about how we choose to talk about the places where we grew up. I don’t want to pin the decline of civilization on the place that harbored a younger version of me. The land and people I was raised on shaped the person I’m becoming, and I want to honor that. When I write, I want to be integrated with my home, not clash with it.

In an interview promoting The Topeka School, Lerner proclaimed, “Memory lives in places… There are always pockets of the past in the landscape of the present.” He and I are embedded in the history of Topeka, just as a fossil is embedded in the ground. We may not assume the voice of the narrator, nor the anthropologist, lest we forget our own footprints.

Molly Hatesohl is a Topekan living in Chicago.

Photograph by Adam Krohe, a photography student at Topeka High School, Class of 2024.

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The California Road

Franklin County, Kansas

By Diana Staresinic-Deane

On a rise above Ottawa Creek in Franklin County, Kansas, a shallow depression roughly six feet wide hugs the southern boundary of a battered cemetery before it veers north and vanishes into a fence line. Today it is barely visible, a valley of grass and weeds a slightly different shade of green than the field surrounding it. During the years leading up to Kansas’s statehood, this strip of green was a road that saw hundreds of wagons and thousands of cattle heading west to California and Oregon.

“California emigrants are passing in great numbers,” Reverend Jotham Meeker wrote in his journal from the Ottawa Baptist Mission on April 27, 1852. “Four companies encamped near us last night with 1,300 cattle. On this evening three more companies encamp with 700 cattle. These are exclusive of probably 5 or 600 oxen with 60 or 80 wagons.”

The Ottawa of Blanchard’s Fork and Roche de Boeuf and Oquanoxy’s Village were among several bands of Native Americans forced into present-day Franklin County after losing lands in Michigan, Illinois, and Ohio in the 1830s. More than half of the Ottawa had died by 1837, when Jotham and Elenor Meeker arrived to establish a Baptist mission among them.

Born in 1804, Jotham Meeker trained as a printer before becoming a missionary among the Ottawa, Chippewa, and Potawatomi in Michigan. He became fluent in multiple Indigenous languages, and he developed a phonetic method using Roman type to print in several of them.

When the Indian Removal Act pushed tribes into the Plains, the Meekers were sent there, too. In 1833, at the Shawnee Mission, Meeker set up what is thought to be the first printing press in what would become Kansas Territory. He would print thousands of books and other materials in the Native languages of the various tribes moving to Indian Territory.

In October 1836, Meeker received orders to set up a mission among the Ottawa as soon as a printer could be sent to take his place. By the spring of 1837, construction had begun on the first five-acre mission site, which was situated along the Marais des Cygnes River and the Fort Scott Road. This site was partially destroyed in the flood of 1844 — a flood whose high-water mark was thought to be nearly seven feet higher than the flood that drowned much of Eastern Kansas in 1951.

The Meekers rebuilt on higher ground, situating the mission church, cemetery, house, well, and farm on a rise above Ottawa Creek. Although missionaries were undeniably part of the larger colonial machine that devastated Indigenous populations to make way for white settlement, Meeker’s journals and the memories of the Ottawa themselves suggest that the Ottawa and Jotham Meeker had a relatively respectful relationship. Meeker’s journals narrate days filled with visiting families, caring for the sick, and comforting the grieving.

Meeker also documented those traveling along the California Road that passed by the south side of the new mission site. He first mentions the “California emigrants” and a cholera outbreak in 1849. Beginning in 1850, springtime meant hundreds of emigrants passing the mission.

Wagon trails are integral to the history of the American West, and Kansas was often seen as the liminal space that travelers passed through to reach their true destination. Two of those major trails — the Oregon-California Trail and the Santa Fe Trail — passed through Kansas, each traveler on their own journey to somewhere else.

But those trails did not exist in a vacuum; thousands of miles of lesser roads connected the major trails to military forts, Indian agencies, missions, homesteads, water sources, and hunting grounds, and still more roads connected many of those places to each other. Any Kansas road that ultimately linked to the Oregon-California Trail might be called a “California Road,” and one such road carried travelers through present-day Miami County before turning due west into Franklin County and passing through the Ottawa Reserve and Meeker’s Baptist Mission.

“It has now been four weeks since California emigrants commenced passing and we think to this time about 800 wagons and 10,000 cattle have gone along this road,” Meeker wrote in his journal on May 15, 1852. “About 30 wagons and 300 cattle pass to-day.”

Emigrants purchased oats, corn, and potatoes at the mission, but they were less interested in religion, and Meeker wrote that few observed the Sabbath. Emigrants also brought cholera, and on June 15, 1852, Meeker wrote, “California emigrants are returning, fleeing from the cholera. They report that great numbers are dying with it on the Plains. They have two cholera cases with them.” At least one emigrant never left the mission site; the daughter of Mr. and Mrs. Gabriel Smith is buried in the cemetery.

The road also brought news and change. On June 1, 1854, Meeker noted that, “Nebraska and Kansas Territories are organized,” referring to the passage of the Kansas-Nebraska Act, which passed just two days earlier. He also wrote of emigrants who “are squatting around us in great numbers,” signaling the beginning of white settlement in Kansas Territory and what would soon be the end of Indian Reserves in Franklin County.

Jotham Meeker died January 12, 1855, leaving behind hundreds of pages of journals documenting life with the Ottawa in Kansas before it was Kansas. His wife Elenor died in 1856 and is buried in the mission cemetery next to Jotham. The mission fell into ruin, though the cemetery would continue to be used by both the Ottawa and white settlers. Shortly after the Civil War, the Ottawa were forced to sell their lands in Kansas and move to Oklahoma.

The California Road, which was drawn into the official government land survey maps created between 1856 and 1864, was no longer an official road by the time Leonard F. Shaw and G.D. Stinebaugh published their map of Franklin County in 1878. Later travelers followed section line roads, and later still, Kansas Highway 68 and Interstate 35. Although these roads allow for faster and safer travel, they can’t offer the intimate knowledge of a road that hugs the curves of the land, climbing hills, splashing into creeks, and passing through thousands of acres of wildflowers at the pace of a wagon train.

I am fascinated by old trails, and I am forever searching for remnants of paths that once connected us to other people and places. Where we are is shaped by our ability to get there, and I have spent many hours standing in the depressions that still remain, thinking about the people and goods and animals who once followed that path in their journey.

Today at the old mission site and cemetery, a steady Kansas wind carries the sounds of faraway travelers: the drone of high-speed traffic on I-35 and K-68, the buzz of a small plane, the horn from a distant train, chatty bluebirds and nuthatches hopping from perch to perch in the trees. The only stillness is in the old California Road itself. Yet, as I stand in the swale of this former road, I can imagine a time when the Meekers and the Ottawa could hear lowing cattle and creaking wagons hours before they reached the mission on their way to somewhere else.

Diana Staresinic-Deane grew up in Kansas City, Kansas, and currently calls Ottawa, Kansas, home. She is the executive director of the Franklin County Historical Society in Ottawa and a member of the Humanities Kansas Speakers Bureau. She is the author of the book, Shadow on the Hill: The True Story of a 1925 Kansas Murder. Diana can often be found exploring old cemeteries and searching for remnants of historic trails.

Read Jotham Meeker’s journals at the Kansas Historical Society, or visit their archive for a more complete Meeker collection.

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1112 Gillespie Place

Garden City, Kansas

By Rosemary Hope

This is the story of my house and the foursome who gathered for dinner Christmas Day 1959: Truman Capote, Nelle Harper Lee, and my parents, Dolores and Clifford Hope Jr.

It was at the beginning of Truman’s seven or so years of entanglement with Kansas for In Cold Blood, his 1966 nonfiction novel chronicling the murders of the Herbert Clutter family and the prosecution of their killers. Herb, his wife Bonnie, and teenaged children Nancy and Kenyon had been killed by gunshot in the early hours of November 15, 1959.

Truman and his childhood friend Nelle came by train from New York a few weeks later: Truman to cover the murders for The New Yorker and Nelle to help with reporting.

My father was Herb Clutter’s lawyer. Shortly after Truman and Nelle’s arrival, Daddy and the estate’s administrator opened the doors to the crime scene, a tidy farmhouse outside Holcomb, Kansas, five miles west of Garden City. Truman sniffed about while Nelle took notes.

Otherwise, the pair did not get much help from the community throughout December. Truman, a flamboyant, pushy, gay man, was puzzling to townsfolk and stymied by local press and law enforcement.

He and Nelle faced Christmas alone at the Warren Hotel in Garden City. Until my mother issued an invitation.

“Come at one,” my mother said.

“Make it two,” Truman replied.

Mom always looked out for those new in town, young reporters at The Garden City Telegram, neighbors, teachers, singletons — all would all be invited for dinner. She knew who Truman was; she subscribed to The New Yorker. And for a woman who claimed she spent the 1950s with her “head in the diaper pail,” an adults-only dinner was welcome.

She fed the four little Hopes in the kitchen ahead of time. When Truman and Nelle arrived around 2:00, Christine, 10, Nancy, 8, Quentin, 5, and Holly, 3, were introduced and then whisked upstairs to play with their new toys.

Years later, I learned that Chris and Nancy had discussed their meeting with Nelle and Truman in detail. They marveled at their voices — Truman’s high, Nelle’s low — and their appearances: he was “small and pinkish,” she “dark and tall.”

Our house sits on a two-block-long, tree-lined street flanked at either end by brick pillars with bronze plaques announcing

Gillespie Place

Private Drive

Truth: the street was not private and our house, a 1908 bungalow, was among the most ordinary on it. But the trees were special. Despite the name, “Garden City” was not a grower’s paradise. The vicissitudes of a semi-arid climate and near constant wind — “hard blue skies and desert-clear air” as Truman said on page one of In Cold Blood — made growing pretty things pretty hard. My grandfather, Clifford Sr., planted and irrigated the heck the out of the elms after he purchased the house in 1920.

Nelle volunteered to help Mom in the kitchen and shared her trick for getting the air out of baking batter. “You whomp it on the counter,” she instructed while smashing the bottom of the pan on the Formica. This method has now served three generations of Hopes baking hundreds of batches of cakes, rolls, and brownies.

Mom debuted twice-baked potatoes and roast duck. Truman, who “noticed everything” according to Mom, zeroed in on the potatoes. “They lack something,” he observed. Perhaps it was sour cream and caviar (“the freshest, the grayest Beluga”), which he described in 1972 as the only way he could “bear to eat a potato.” This “most delicious ever potato lunch” was to be accompanied by chilled Russian vodka, which “must be 80 proof.”

On this day, Truman brought J&B scotch. Conversation flowed, with Truman holding court. “Most of the talk was about himself, but it was interesting,” Daddy later recalled. “He loved to gossip, especially about his rich and famous friends.” (These were likely Truman’s Swans, ladies at the top of New York society.) At some point in the meal, Daddy rose from the table and recited the kings and queens of England in order.

Back in New York in January, Nelle wrote my mother that Christmas Day with the Hopes, Daddy’s tour of the town, and other shared meals were the “high spots” of the stay.

By all accounts, Christmas lunch launched Truman into Garden City society. Once word got around town that the Hopes had hosted Truman, he was honored with dinners and cocktail parties from Garden City high society. He even collected his own Garden City Swans, who were special guests at his Black and White Ball in 1966 after the publication of In Cold Blood.

People frequently ask why my parents were not at the ball. They weren’t invited, and Daddy knew why. Although he was a Kansas state senator and son of retired U.S. Congressman Clifford Hope Sr., and although Mom wrote a daily column, “The Distaff Side,” for The Telegram, my parents were not in the country club set, not the “in” crowd. Mom did not pick up smoking and bridge as she’d been advised to do when she was society editor for the Telegram. Daddy didn’t golf. They didn’t have a modern house with a conversation pit and intercom system like those who lived on “the Hill.”

But Truman knew what he had with my parents. He retained Daddy as his Kansas lawyer throughout the writing of the book and filming of the 1967 movie. He relied on Daddy’s insider view of Kansas politics, particularly the 1960 gubernatorial race, which could have threatened the death penalty in the state. Daddy is one of five mentioned in the book’s acknowledgments.

Truman genuinely liked my mother. He insisted on writing a guest column for her, and it was a charming recount of his luncheon with Queen Elizabeth, the Queen Mother, at the home of royal photographer Cecil Beaton.

I liked to tease my parents that I was Truman Capote’s love child. I mean, there are similarities between my baby pictures and his “fat years” photos. And he sent Mom a bottle of Chanel No. 5 when I, her fifth child, was born in June 1961. My fantasy stems from the story I was told over and over: Truman showed up at the house midday in early 1962 wanting my mother to join him at the Warren Hotel coffee shop for a gab session. She answered the door, baby me on her hip, making dinner, phone ringing. She plopped me in his lap, noticing his look of horror and confusion as she ran to answer the phone. Like any other Garden City housewife, Mom had no nanny for the baby, no cook for lunch. Truman left alone for the coffee shop, perhaps a bit sticky from our encounter.

The four from Christmas dinner 1959 are gone now. My parents lost touch with Truman after the filming of the movie. Nelle and my parents remained friends, with sporadic correspondence through the years. The house on Gillespie Place, with some replacement trees on the driveway side, remains in the family.

Rosemary Hope resides in verdant eastern Kansas, with twice the rainfall and half the wind of her beloved western Kansas. She lives on a tree-lined street with her husband, cat, dog, and rabbit, and an easy-to-grow organic garden. She is a medical writer and editor.

Photo at top: Hope family home, winter 1960. The house was added to the National Register of Historic Places in 2000 because of its association with Clifford R. Hope Sr., who represented the southwest Congressional District in Kansas in the U.S. House of Representatives from 1927 to 1957.

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Lazy T Ranch

Manhattan, Kansas

By Traci Brimhall

Gravel crunches beneath my tires as I approach Lazy T Ranch, home of the Kansas Poet Lariat Ron Wilson. It’s an unseasonably warm February day, and birds punctuate the silence with their twitters and trills. The deep cerulean sky is cloudless and seems even brighter against the beige of the Flint Hills in winter. Quilt square designs decorate the outbuildings of Lazy T Ranch. The house is tucked in a horseshoe curve of hills.

Ron pulls up and greets me with a white cowboy hat and a kindness as bright as the day. We survey the land and buildings in front of us and make a plan for our afternoon. The winter mud had been nearly constant for weeks, but today is warm and dry, so we get in Ron’s work truck and head out to take in the best views.

As we drive past each pasture and hill, Ron names the peaks and points out where weddings have taken place. We talk about our favorite seasons in the Flint Hills, from the great sledding of his childhood to the gorgeous greens of new grass after a controlled burn takes out last year’s big bluestem. It’s astonishing that they can storm back so quickly after a fire. Nature performs such a hopeful metaphor for us if we choose to see it that way. A hawk wheels above and wind rustles last year’s grasses, and we agree spring’s renewal is one of our favorite times to love this place.

Although the ranch is not far from the stoplights and strip malls of Manhattan, KS, it feels a world away. The Flint Hills are often a retreat for me. I love to walk the trails and admire the gentle light of the prairie and insects lounging on the latest blossoms. But I always feel like a transplant to this ecology. I am still learning the names of wildflowers and how to identify bird calls, still tucking the meadowlark and prairie chicken into poems to feel myself more tied to place.

Ron Wilson’s family has been rooted here since 1968. The limestone barn is even older. But the front meadow is the oldest of all. It is still the original prairie sod, never plowed. Even as a boy, Ron’s mother spoke to him about commitment to the land.

As we leave one lookout point for the next, we begin talking about our love of poetry. Ron heard his first cowboy poet when he was in Colorado and got a kick out of it. That sparked something in him and when Kansas cowboy poet, Dr. Jim Hoy, put out a call for cowboy poems, Ron tried penning his first poem. He’s been crafting verses from his life ever since.

Cowboy poetry certainly sings on a page, but it’s originally an oral art form. The performance of the poem is part of its power. As we make our backroad turns and I wait for him to open gates for us to drive through, we talk about the beauty of this immediate connection — to speak your poem and immediately see and hear your listeners respond. For me, poetry has had more of a private sense of audience. I read other people’s poems and feel a connection, but I may never tell them. People often encounter mine on a page or computer screen, and I may never hear from them either, though I still believe an asynchronous intimacy happens.

Ron and I nod as we listen to each other describe our writing process. We find we are opposites in many ways. He was born here, and I still feel like an unrooted stranger after a decade in the same spot. He’s a night owl, and I’m the blackbird, singing even before the dawn gets too purple. I whisper my poems to myself as I revise, and he performs for audiences at bonfires.

Although we find so many differences, our inspirations for our poems almost sound the same. “Sometimes it comes from a moment,” Ron says, “A night thought.”

“Yes!” I agree. “Sometimes there’s a thing in my brain, like itching the grit inside an oyster and that becomes a pearl.”

“Sometimes it’s a twist,” Ron says.

I nod, understanding the strangeness of the world at times. The unexpected ways that what is right next to you is also hidden. I love poetry because a day can hide its details, and poetry helps us pay attention to them.

“When something goes badly on the ranch, we say, ‘Well, if nothing else, at least I can get a poem out of this.’”

I understand this truth, too — how it’s the storms, the accidents, the smoke from a prairie fire, the night’s quiet astonishments that bring us our poems.

We get out of the truck again once we are in the high pasture. Ron points out another popular wedding spot next to a lone tree. Below we can see a small bend in the river reflecting the stunning topaz of the afternoon sky, moving like something alive. It makes me ache with gratitude to be a guest on this land.

As we get into the truck to circle back to where I parked my car, we talk about what keeps us both coming back to poetry, decade after decade, loss after loss, and for me, home after home.

“The best compliment I could ever hear is that something I wrote made someone feel less alone,” I tell Ron.

“Yes,” he agrees. “The best part are those rewarding moments when you connect at the heart level.”

We turn on the gravel road headed back to the barn where we started. The afternoon shadows lengthen and dapple the Lazy T Ranch sign that reads “Happy Trails.” We complete our circle having learned each other a little better, knowing our different relationships with poetry still rhyme.

Traci Brimhall’s newest book, Love Prodigal, is forthcoming from Copper Canyon in 2024. She is also the author of four other poetry collections, and her poems have appeared in The New Yorker, Poetry, The Believer, The New Republic, Orion, New York Times Magazine, and Best American Poetry.  She’s received fellowships from the Wisconsin Institute for Creative Writing, the National Endowment for the Arts, and the National Parks Service. Brimhall lives in Manhattan, KS, and serves as the current Poet Laureate of Kansas.

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Edwards County Historical Museum and Sod House
Kinsley, Kansas

By Joan Weaver

Starting in Washington, D.C., you can drive U.S. Highway 50 all the way to San Francisco. Along the way is the small Kansas town of Kinsley with a towering sign that announces you are “Midway” across the continent. Contrary to being just the “midway” of a journey, Kinsley has been the desired destination for many people. Some came on the Santa Fe Trail, others on the Atchison, Topeka, & Santa Fe Railroad, or, more recently, like I did, on a modern highway.

The sign also invites you to visit the Edwards County Historical Society Museum to see how the pioneers lived on the prairie. You can go inside a reproduced sod house built in 1958 by men who still remembered the process. On exhibit are the tools they used and pictures taken during construction. The house contains period furniture and artifacts donated by the descendants of the early settlers. Because the original open-air sod house required continual upkeep, in 2001 the Edwards County Historical Society preserved the house by building a structure to encase it.

Among the early immigrants were the Maxey family from Galesburg, Illinois. On October 1, 1886, George and Clara Maxey gathered their six children into a covered wagon pulled by two horses to begin the 650-mile trip to Kinsley. Penelope “Nellie” Maxey was twelve and very excited and a little frightened. The day before, some mean boys had jerked on her braids and told her that Indians would scalp her.

“Our wagon was very well built and warm,” recalled Nellie in an interview celebrating Kinsley’s 1973 centennial. “Father had it built wide over the wheels so beds could be arranged sideways and that is where we slept. And don’t forget to mention my dog Bounce. He trailed the wagon, walking all the way from Illinois.”

Despite his wife’s warnings to not be swindled, in Missouri George traded their faithful horse for a mule “with more endurance.” It was a long, hard trip, and the family arrived at Clara’s brother-in-law’s brickyard on November 7. “We slept in a tent that first night we were in Kinsley and nearly froze,” Nellie remembered.

The following day, they headed nine miles south to homestead next to Clara’s sister. Remembering her mother’s warning, Nellie said, “When we got halfway there, the mule, Jack, laid down and died. Father walked to my aunt’s place and brought back a horse to team with the other to take us on our way.”

The Homestead Act of 1862 offered “free” land to settlers if they would build a house, make improvements, and farm the land for five years. The Maxey’s claim was ancient sand dunes covered with short buffalo grass and a few thorny plum bushes – no tree in sight. Regular prairie fires and grazing buffalo herds eliminated trees in the prairie ecosystem.

In this area, building with sod was the quickest, most inexpensive way for settlers to improve their claims. Sod blocks should not be confused with the dried adobe bricks of the Southwest. With sod, thick buffalo grass roots held the soil together, and blocks could be cut and lifted intact. Typically, blocks were 24 inches long, 12 inches wide, and four inches deep. They weighed 50 pounds each, and it took 3000 blocks to build a 16-foot by 20-foot house.

There are no pictures of the Maxey house, but a family of eight would have needed shelter quickly. The sod would have been broken with a plow, cut into blocks and stacked. For some families, red clay from the banks of the nearby Arkansas River was mixed with sand and used as mortar. After this mortar dried, it became almost as hard and durable as cement. The same mixture could also be used to stucco the inside and outside of the house.

Sod homes often were topped with rafters covered with tarpaper and a thinner layer of sod, grass side up. Sometimes boards were laid loosely, covered with several layers of asphalt roofing and left exposed.

Living in a soddy had some advantages. The insulating, two-foot-thick walls offered coolness in summer and warmth in winter, aided by burning buffalo chips. However, housewives found many disadvantages. Bugs, mice, and snakes, including rattlers, liked to move in. Dirt floors were hard to keep clean. Heavy rains eroded walls and leaked through the roof, leaving wet furniture and muddy floors.

After the Maxeys settled in, Nellie learned there was no need to fear Native people. The U.S. government had called for the eradication of the buffalo in order to defeat the Plains tribes who resisted the takeover of their lands by white settlers — including the Cheyenne, Arapaho, Kiowa, Apache, and Comanche. No buffalo meant no food and no Indians.

The next summer’s real threat came from hot winds and drought. The sun beat down every day. Their corn crop withered despite all efforts to carry buckets of water from the well to every stalk. The land was lonely and harsh, threatened by grasshoppers, rattlesnakes, hail-storms, and occasional cyclones and prairie fires. At night, Nellie would lay in bed listening to coyotes howling.

One hundred years later, in 1989, I too found myself moving to the sandhills. I was luckier than the Maxeys, as we purchased an existing six-room, one-bath frame farmhouse built by homesteaders in 1907.

Our moving train consisted of a U-Haul truck, two cars, two pickups, and three trailers hauling our riding horse, two miniature horses and a1959 Ford tractor with implements. The dog rode in the car with our two teenaged sons.

Our entourage took one long day to move 500 miles at a top speed of 50 mph. Compared to the Maxeys, my hardships were minor. I broke a finger loading the horse into the trailer. We arrived after dark to find the barn full of eighty years of detritus. When I put the riding horse into the corral, four-foot weeds obscured my view of an open back gate. She escaped into the dark. Fortunately, the pasture fence was intact, and she appeared back at the barn in the morning, covered in biting flies. When I applied fly repellent, it must have stung, because she reacted by landing a good back-kick on my knee. All I could do was crawl out of the corral, driving sharp sandburs into my shins. Less than 24 hours in Kansas, and I was ready to leave.

In time, life became more manageable for both Nellie and me. She would marry a lawyer and live in a large Victorian house as one of Kinsley’s leading ladies until her death at age 85 in 1959. After thirty-five years, I still live in the old farmhouse, which has since been remodeled with a large master bedroom and bath.

Now, I go to the sod house museum to discover stories like Nellie’s. The names on the donated artifacts I see there are familiar surnames of my friends who are their descendants. I spend time talking to those friends and researching in the old newspapers and the library archive. I suppose I’m a little like the sod house museum, as I too want to preserve and share the stories of the early people who settled midway across the continent.

Joan Weaver has been the director of the Kinsley Public Library for twenty-seven years.  She has a passion for discovering, preserving, and making the stories of her adopted prairie community digitally accessible. Currently she is working on a book about Kinsley’s role as the regional center for culture and the arts in the early twentieth century.

Photo by Bob Obee.

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Rock Springs Ranch

Junction City, Kansas

By Macy Davis

Niki Smith never names Kansas in The Golden Hour. She doesn’t need to. Every page of the 2021 graphic novel shows Kansas. It starts with the cover, which looks through wheat in the foreground to kids on a hay bale, the county fair in the background, a golden sunset lighting the scene. A few pages into the book, a Kansas state highway sign brings the reader directly into northeast Kansas. Many chapters end with landscapes dotted with cattle. A girl from Eudora wins the bucket calf event at the county fair. The main character, Manuel Soto, even fills out a form which clearly names “Douglas County” at the top. But the linchpin in this Kansas story is when Manuel and his friends go to agriculture club camp at White Springs Ranch.

The real-life White Springs Ranch is called Rock Springs Ranch, and it’s the Kansas State 4-H Camp, owned and operated by the Kansas 4-H Foundation. As a 12-year Kansas 4-H member, that last 15 miles of the drive, after you turn south from Junction City, was always the most exciting for me. My county extension agents hauled vans full of kids across the state, and even with a stop in Junction City, we were ready to be out of the car for good as we drove that last stretch, leaving behind the relative flat-land of U.S. Highway 77 to dip down into the creek bottoms. This small change made Rock Springs feel just different enough that you could forget you weren’t that far from home. When I read The Golden Hour for the first time, I gasped when Manuel and his friends got off the bus at camp. Then I immediately recommended this book to many of my 4-H friends, because Smith’s White Springs Ranch is clearly Rock Springs.  The name White Springs alone convinced me, but my favorite detail is the illustrations of the rings of cabins surrounding picnic tables and a bathhouse sheltered by trees. I felt like I should be unrolling my sleeping bag, tossing on a swimsuit, and getting ready to chow down on s’mores.

Manuel and his friends don’t spend long at White Springs, just a few pages really. Manuel ends up leaving camp early after the sounds of gunfire from the rifle range trigger his PTSD from witnessing a school shooting. Throughout the book, Manuel uses photography to ground himself in moments of anxiety. Often, he photographs the Kansas landscape, but the photos he captures of camp primarily focus on his friends and the fun they’re having.

The camp photos are on a two-page spread, highlighting the joy of the experience without a trace of the black and white shading or fractured yellow line work through which Smith indicates Manuel’s panic. For Manuel, camp represents freedom and friendship, which are both big steps after the trauma he experienced. To go away to camp for four days, Manuel worked with his therapist and his mom to determine he was ready. Even with its less-than-ideal ending, Smith captures just how meaningful a few days at 4-H camp can be.

Summer camp offers kids a space of freedom. It’s a place rife with new experiences and activities, and one full of new people who don’t know you. At camp, you can test boundaries and try out new elements of identity without the oversight of your family. That makes any camp special, but 4-H camps are unique, not least because their typically shorter sessions mean they serve far larger quantities of campers than the average overnight camp. It’s estimated that 1.5 million Kansans have camped at Rock Springs since the 1940s.

Graphic novels have a unique burden of proof in depictions of setting, particularly when representing real places, because they can show the whole picture, rather than just relying on the reader to supplement written descriptions with their own imagination or prior knowledge. It’s either right, or it misses the mark. Smith’s White Springs Ranch captures not just the look of Rock Springs but the feeling of being a camper there.

As a children’s librarian, I’m well aware of the underrepresentation of nuanced experiences of rural life in children’s literature. Urban and suburban kids are oversaturated with depictions of their lives, while rural kids may only see historical fiction or books that tell them the places they’re from are places to escape. I don’t feel like I ever saw Kansas or my lifestyle represented in contemporary fiction when I was a kid reading everything I could get my hands on. As much as I love historical fiction, it’s not the same.

The scholarship of children’s literature often relies on Dr. Rudine Sims Bishop’s argument that children should be able to find mirrors, windows, and sliding glass doors in literature. Bishop explains, “When children cannot find themselves reflected in the books they read, or when images they see are distorted, negative, or laughable, they learn a powerful lesson about how they are devalued in the society of which they are a part.” The growing rural-urban divide makes it essential that representation of rural areas be presented with depth and compassion. Smith’s graphic novel counteracts outdated, negative images and depicts rurality as it is.

My favorite Rock Springs memory is when one of my friends from a different county and I made up goofy choreography to the song “Pour Some Sugar on Me” at the Kansas Youth Leadership Forum when we were in high school — choreography we continued to utilize through college when we both ended up living in Alpha of Clovia 4-H Cooperative Leadership House at K-State. Manuel’s friendships and experiences in agriculture club remind me of my own experiences as a 4-H member embracing spontaneity and forming relationships that continued beyond the boundaries of Rock Springs.

Smith is a former 4-Her herself (even naming Manuel’s hometown after her 4-H club), and her use of Rock Springs as part of Manuel’s story offers rural youth positive representation that speaks to a specific experience while nonetheless representing a broad audience. After all, there are approximately 15,000 4-H members in Kansas. If this is a story that I, an adult almost 10 years removed from my 4-H experience, felt seen by, I can only imagine how young readers will feel. Even with the trauma Manuel experiences, he finds stability in the landscape, making The Golden Hour a love letter to a Kansas childhood.

Macy Davis is a proud Kansas 4-H alumna, Boston-based children’s librarian, and poet. She holds both a Masters in Library and Information Science and a Masters in Children’s Literature from Simmons University. Her work has been published in the I-70 Review and Wizards in Space. She spends her time reading, writing, planning storytime, and starting too many craft projects.

 Photo courtesy of the Kansas 4-H Foundation.

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