“The Indians drove down into the valley with a fury. Quanah recalled later that the horses were moving at a gallop, throwing dust high in the air, and that some of them tripped on the prairie-dog holes, which sent men in feathered headdresses and horses rolling over and over in the semidarkness. At the settlement [of Adobe Walls] they crowded around the buildings, firing their carbines at windows and doors. Inside, the buffalo men barricaded themselves as best they could, piled up sacks of grain, and found that they were fairly well protected behind two-foot walls of sod. Sod would not burn, either, which would have offered the Indians an easy victory. The attackers flattened themselves against the walls. Quanah backed his horse into one of the doors, trying unsuccessfully to break it down, and later climbed up on the roof of one of the buildings to shoot down at the occupants. At one point, he picked up a wounded comrade from the ground while seated on his horse, a feat of strength that astounded the men inside the buildings. In the early minutes of the fight both sides were using six-shooters. For the white men inside, the fury of the attack was terrifying. The buildings were full of smoke; people were shouting and screaming; the air was full of singing lead…”
- S.C. Gwynne, Empire of the Summer Moon: Quanah Parker and the Rise and Fall of the Comanches, the Most Powerful Indian Tribe in American History
According to author S.C. Gwynne, the Comanche Indians were the strongest, most militarily successful American Indian Tribe in history. At their peak of power, they controlled a territory spanning some 240,000 square miles, and they guarded that land fiercely, pushing back the Spaniards, the Mexicans, and the Texans, before slowly giving ground to the relentless westward push of the United States.
Despite their prowess (Gwynne calls them the world’s best light cavalry) and their occasional appearance in western films (such as John Ford’s famed The Searchers), the Comanches have long existed in the shadow of better known tribes, especially the Lakota of the Northern Plains. Indeed, when Michael Blake’s novel Dances With Wolves was adapted for the large screen, the story was transplanted from Texas to the Dakota Territory, and the Comanches became the Sioux.
Gwynne’s Empire of the Summer Moon is an energetically narrated epic that seeks to give the Comanches their due credit. In just over three hundred pages, he attempts to portray the whole tragic sweep of the tribe’s history, from their earliest days as a mountain people, to their dramatic apotheosis as the mounted lords of the Southern Plains. To do this, Gwynne tethers the story to the near-unbelievable life of Quanah Parker, the “Last Chief of the Comanche.”
Though Gwynne uses the term loosely, the Comanches were an “empire” in the very literal sense of the word. They came from the Wind River region in present-day Wyoming, and slowly migrated toward the south. For a long time, they were at the mercy of other tribes, until, in an ultimately bitter irony, the Spaniards – and their horses – arrived on the scene. Brilliantly adapting the horse to their lifestyle, the Comanches grew into a potent martial and political force. They nearly annihilated certain tribes – such as the Apache and the Tonkawa – made treaties with other tribes, and consolidated their holdings into a roughly delineated land known as Comancheria, which comprised portions of present-day Texas, New Mexico, Colorado, Oklahoma, and Kansas.
When Spain was kicked out of North America following the Mexican Revolution, the Mexicans took drastic actions to create a buffer between their northern provinces and Comancheria: they invited Americans to emigrate into Texas.
We all know how that turned out.
This is the point where Gwynne’s tale really starts. On May 19, 1836, just months after the fall of the Alamo, nine-year-old Cynthia Ann Parker was taken from her home by Comanche Indians, after a brief, bloody fight. Eventually, she was adopted into the tribe, married chief Peta Nocona, and gave birth to children, including Quanah. Quanah later became a famed warrior, clashing with Randal Mackenzie and leading the attack against buffalo hunters at Adobe Walls in 1874. Among the last of the free Comanches, Quanah was finally forced to surrender in 1875. Thereafter, he began a remarkable second life as a celebrity, living in a huge house with his many wives and children, hosting soldiers and presidents, and gaining and losing a small fortune.
In a relatively short book, it is pretty amazing how much ground Gwynne is able to cover. He sketches out the pre-Colombian history of the Comanches, gives us a glimpse of their culture, covers the battles, raids, and massacres between Comanches and Texans (including the Council House Massacre, the Linnville Raid, and the Battle of Plum Creek), provides sharp portraits of the major players (Cynthia Ann, Quanah, and Colonel Ranald Slidell Mackenzie), and also integrates the role of technology into the proceedings (for example the advent of the Colt Revolver and the Sharps .50 caliber greatly sped the Comanches’ demise).
Empire of the Summer Moon is, in other words, a marvelous combination of many genres. It is a captivity narrative, a multi-person biography, and a military history. Gwynne does all these things extremely well. He is a really good writer. This is one of those rare history books where the prose is actually worth mentioning, at least in a positive sense. The descriptions of battle leave you with the stink of gunpowder in your nose. There are certain points when Gwynne uses his prose in combination with his insights into the participants – especially the mirror-twinned lives of Cynthia Ann and Quanah, who were both forced to leave their settled existences and live in spheres not of their choosing – that Empire of the Summer Moon reaches extremely rare heights. At its best, this book is among the best.
Unfortunately, Empire of the Summer Moon is not always at its best. There are tonal inconsistencies here that simply had me scratching my head. Chief among these is Gwynne’s apparent insistence on using terminology borrowed from sociological tracts of the early twentieth century. I actually kept a list of the questionable adjectives that Gwynne used to describe the Comanches, including “low barbarian,” “precivilized,” “primitive,” “culturally primitive,” and – of course – “savage.” He is also obsessed – truly obsessed – with referring to the Comanches as “Stone Aged,” as though he were referring to The Flintstones rather than an outnumbered community of hunter-warriors that managed to hold back three different empire-nations for hundreds of years.
This is not to say that Gwynne is entirely an ignorant, culturally insensitive throwback - he just talks like one sometimes. Indeed, I think he makes a real effort to at least imagine what the life of a Comanche man or woman would have been like. He is also keenly aware of the overarching framework of American-Indian relations, resulting in hundreds of broken treaties, and dozens of major assaults on Indian encampments. This is no apologia for westward expansion.
That makes it all the more regrettable that he finds the Comanches “simple” because they didn’t have priests or warrior societies or complex political structures. The problem, as always, is that when you try to define “civilized,” you run the risk of treating your own life, systems, and values as the norm, and comparing everyone else to that standard. It’s a false comparison, especially when that standard is by no means superior. For example, I found it extremely jarring when Gwynne confidently asserts that the Comanches were barbarians, but then goes on to laud the annihilationist policies of Mirabeau Lamar, and to come strikingly close to fetishizing the Texas Rangers for their ability to unleash unrestrained violence.
While Empire of the Summer Moon can be distracting in its word choice, Gwynne generally keeps his sympathy with the Comanches, especially the dynamic Quanah.
Quanah is a novelist’s dream, a man who lived during a time of enormous, violent transition, who was born on the plains to near-infinite freedom, and who died in a huge two-story clapboard house in the early twentieth century, in an age of automobiles and airplanes. He was a freedom fighter, and a killer, but when he saw the game was up, he pivoted with notable agility and optimism. Quanah Parker and his mother both lived on the borderlands, straddling two races, two cultures, and two very different trajectories. For Cynthia Ann, it became too much, and the misfortunes of her fate are Shakespearian in their contours. Quanah, on the other hand, was somehow able to unite his divided selves, to live as both a Comanche and an American, and to succeed in both worlds.