Retrobituaries: Buffalo Calf Road Woman, Custer's Final Foe

Three Cheyenne warriors on horseback.
Three Cheyenne warriors on horseback.
Edward Curtis, Library of Congress

For the Native Americans of the Northern Plains, the Battle of Little Bighorn was a glorious victory against U.S. government forces intent on claiming their land. Fought on June 25, 1876, in Montana Territory, the battle saw Lakota Sioux, Northern Cheyenne, and Arapaho warriors quickly overwhelm and kill some 260 U.S. troops. George Armstrong Custer, the Civil War hero sent to remove the Native Americans to their reservations, was among them.

Though the exact circumstances surrounding Custer’s death have long been the subject of debate, a new and intriguing account of his final moments surfaced in June 2005 when members of the Northern Cheyenne broke more than a century of silence to recount their tribe’s oral history of the battle. According to their account, it was a female fighter named Buffalo Calf Road Woman (alternately called Buffalo Calf Trail Woman) who knocked Custer off his horse that day, leaving him vulnerable, and who may have killed him.

Frank Rowland, a Cheyenne elder, told the Montana-based Independent Record, “The chiefs said to keep a vow of silence for 100 summers. One-hundred summers have now passed and we’re breaking our silence.” (In fact, almost 130 summers had passed by 2005.) The Northern Cheyenne said they had never publicly issued their account of the battle before because they feared retribution from the U.S. government.

The 2005 account wasn't the first mention of Buffalo Calf Road Woman at Little Bighorn, however. Thomas B. Marquis’s posthumous 1967 book Custer on the Little Bighorn includes the account of a female eyewitness who says: “Most of the women looking at the battle stayed out of reach of the bullets, as I did. But there was one who went in close at times. Her name was Calf [Road] Woman …[she] had a six-shooter, with bullets and powder, and she fired many shots at the soldiers. She was the only woman there who had a gun.”

Other details of Buffalo Calf Road Woman's life are scant. Most likely born in the 1850s, she was married to a warrior, Black Coyote, with whom she had two children. In the 1953 book Cheyenne Autumn, the Western historian and novelist Mari Sandoz describes her at the 1878 Battle of Punished Woman’s Fork in Kansas as both a mother and a warrior—“a gun in her hands, ready, the baby tied securely to her back.”

Her battlefield courage first cemented its place in tribal history about a week before Custer's Last Stand, at the June 17, 1876 Battle of the Rosebud, where the Cheyenne and Lakota tribes fought against the U.S. Army. There, Buffalo Calf Road Woman saved her brother—whose horse had been struck down—by charging on horseback into a melee of gunfire to rescue him. After that, the Cheyenne referred to the Battle of the Rosebud as the “Battle Where the Girl Saved Her Brother.”

Wallace Bearchum, Director of Tribal Services for the Northern Cheyenne, tells Mental Floss that her warrior exploits then surfaced at the Battle of Little Bighorn, where she fought “out in the open” instead of taking any cover, and where “she stayed on her horse the entire time.” Bearchum adds that although Buffalo Calf Road Woman was an “excellent markswoman,” she used a club-like object, not a gun, to knock Custer off his horse. It's not clear exactly what happened after that, but Bearchum says that Buffalo Calf Road Woman and other Cheyenne and Sioux women “finished off Custer and the other Calvary soldiers right after the battle was over," going "from soldier to soldier to finish them off or take things from them … remembering relatives killed by [U.S.] soldiers in previous attacks.”

"When [Custer] fell," Rowland explained to the Record in 2005, "he wasn't touched by the warriors because he was unclean. He was bad medicine." A scouting party found Custer's nude body two days later with two potentially fatal bullet holes, although we may never know for sure who caused them, or exactly which wound led him to lose his life.

A 1903 painting of the Battle of Little Bighorn
"The Custer fight," C.M. Russell, 1903 // Library of Congress

No matter how brave she was, Buffalo Calf Road Woman was fighting a losing battle against the federal government. Doggedly pursued by U.S. troops, Buffalo Calf Road Woman, her warrior husband Black Coyote, and the other Cheyenne in their group had been on the run and were reaching the point of starvation. They were eventually relocated in the summer of 1877 to Indian Territory (present-day Oklahoma).

Finding themselves homesick and miserable in their new territory, however, they soon joined the Northern Cheyenne Exodus, which took place from the fall of 1878 to the spring of 1879, during which some 300 members of the tribe sought to return to their homeland in the northern part of the U.S.

Unfortunately, during the exodus, Black Coyote's personality changed: He became unhinged, flying into fits of hostility and brandishing a gun against his own people. He also stole horses that were property of the U.S. Army. When then confronted by a tribal elder, Black Coyote fatally shot him.

Buffalo Calf Road Woman’s husband was also a danger to outsiders. On April 5, 1879, a party he led ambushed two U.S. soldiers who were repairing a telegraph line in Montana Territory, killing one of them. When U.S. forces tracked down the party, Black Coyote had some of the slain soldier’s possessions on his person. He and two cohorts were arrested and in short order tried, convicted, and sentenced to be executed by hanging.

While this was going on, Buffalo Calf Road Woman’s own situation began to deteriorate. She had caught the “white man’s coughing disease,” also known as diphtheria, and died at some point in May 1879. Bearchum says he doesn't know the exact location of her burial, but explains that back then, the Cheyenne custom was to bury the dead immediately in the nearby hills. He thinks Buffalo Calf Road Woman was buried in the hills near what is now Miles City, Montana.

Although there is no monument to her, and Bearchum says “funding is needed” for further commemorations, she has been the subject of at least one prize-winning novel, by Rosemary and Joseph Agonito: Buffalo Calf Road Woman: The Story of a Warrior of the Little Bighorn.

Eliza Leslie: The Most Influential Cookbook Writer of the 19th Century

American cookbook author Eliza Leslie
American cookbook author Eliza Leslie
Wikimedia // Public Domain

If it wasn't for Eliza Leslie, American recipes might look very different. Leslie wrote the most popular cookbook of the 19th century, published a recipe widely credited as being the first for chocolate cake in the United States, and authored fiction for both adults and children. Her nine cookbooks—as well as her domestic management and etiquette guides—made a significant mark in American history and society, despite the fact that she never ran a kitchen of her own.

Early Dreams

Born in Philadelphia on November 15, 1787, to Robert and Lydia Leslie, Eliza was an intelligent child and a voracious reader. Her dream of becoming a writer was nurtured by her father, a prosperous watchmaker, inventor, and intellectual who was friends with Benjamin Franklin and Thomas Jefferson. She once wrote that "the dream of my childhood [was] one day seeing my name in print."

Sadly, her father’s business failed around the turn of the 19th century and he died in 1803. The family took in boarders to make ends meet, and as the oldest of five, Leslie helped her mother in the kitchen. To gain culinary experience, she attended Mrs. Goodfellow’s Cooking School in Philadelphia, the first school of its kind in the United States. Urged by her brother Thomas—and after fielding numerous requests for recipes from friends and family—she compiled her first book, Seventy-Five Receipts for Pastry, Cakes, and Sweetmeats, in 1828. Notably, the book included the term cup cake, referring to Leslie's employment of a teacup as a measuring tool ("two large tea-cups full of molasses")—possibly the first-ever mention of a cup cake in print.

Seventy-Five Receipts was a hit, and was reprinted numerous times. Encouraged by this success—and by her publisher, Munroe & Francis—Leslie moved on to her true desire: writing fiction. She penned short stories and storybooks for young readers as well as adult fiction and won several awards for her efforts. One of her prize-winning short stories, the humorous "Mrs. Washington Potts," appeared in Godey’s Lady’s Book, the popular 19th century magazine for which she also served as assistant editor. Leslie also contributed to Graham’s Magazine, the Saturday Gazette, and The Saturday Evening Post. At least one critic called her tales "perfect daguerreotypes of real life."

As much as Leslie loved writing fiction, however, it didn't always pay the bills. She wrote a second cookbook, Domestic French Cookery, in 1832, and achieved the pinnacle of her success in 1837 with Directions for Cookery. That work became the most beloved cookbook of the 1800s; it sold at least 150,000 copies and was republished 60 times by 1870. She offered pointers on procuring the best ingredients ("catfish that have been caught near the middle of the river are much nicer than those that are taken near the shore where they have access to impure food") and infused the book with wit. In a section discouraging the use of cold meat in soups, she wrote, "It is not true that French cooks have the art of producing excellent soups from cold scraps. There is much bad soup to be found in France, at inferior houses; but good French cooks are not, as is generally supposed, really in the practice of concocting any dishes out of the refuse of the table."

In The Taste of America, noted modern food historians John and Karen Hess called Directions for Cookery “one of the two best American cookbooks ever written," citing the book's precise directions, engaging tips, straightforward commentary, and diverse recipes—such as catfish soup and election cake—as the keys to its excellence.

Leslie is also credited with publishing America’s first printed recipe for chocolate cake, in her 1846 Lady’s Receipt Book. While chocolate had been used in baking in Europe as far back as the 1600s, Leslie’s recipe was probably obtained from a professional chef or pastry cook in Philadelphia. The recipe, which featured grated chocolate and a whole grated nutmeg, is quite different from most of today's chocolate cakes, with its strong overtones of spice and earthy, rather than sweet, flavors. (You can find the full recipe below.)

Later in life, while continuing to write cookbooks, Leslie edited The Gift: A Christmas and New Year’s Present, which included early publications by Edgar Allan Poe. She also edited her own magazine of literature and fashion, Miss Leslie’s Magazine. She wrote only one novel, 1848's Amelia; Or a Young Lady’s Vicissitudes, but once said that if she was to start her literary career over, she would have only written novels.

A Uniquely American Voice

Historians have argued that Leslie was successful because she crafted recipes to appeal to the young country’s desire for upward mobility as well as a uniquely American identity. At the time she began writing, women primarily used British cookbooks; Leslie appealed to them with a distinctly American work. (She noted in the preface to Seventy-Five Receipts, "There is frequently much difficulty in following directions in English and French Cookery Books, not only from their want of explicitness, but from the difference in the fuel, fire-places, and cooking utensils. ... The receipts in this little book are, in every sense of the word, American.")

Leslie included regional American dishes in her books, promoted the use of quality ingredients, and was the first to (sometimes) organize recipes by including ingredients at the beginning of each recipe instead of using a narrative form, setting the tone for modern recipe writing. Her books were considered a treasure trove of knowledge for young pioneer women who, frequently separated from their families for the first time, often relied on Leslie's works for guidance.

Unmarried herself, Leslie never managed her own kitchen, and often had others testing recipes for her. She maintained strong ties with her erudite, sophisticated family, and lived for a time with her brother Thomas while he was attending West Point. Another brother, Charles Leslie, was a well-regarded painter in England; her sister Anna was also an artist, and sister Patty was married to a publisher who produced some of Leslie’s work. As she got older, Leslie lived for years in the United States Hotel in Philadelphia, where she was something of a celebrity for her wit and strong opinions.

Leslie died on January 1, 1858. Many of her recipes are still used today, but it's likely she’d be most pleased to know that many of her short stories are available online. Modern readers can appreciate the totality of her work: the fiction writing that was her passion, though for which she was lesser known, and her culinary writing, which guided generations.

Eliza Leslie's Recipe for Chocolate Cake

From The Lady's Receipt Book:

CHOCOLATE CAKE.—Scrape down three ounces of the best and purest chocolate, or prepared cocoa. Cut up, into a deep pan, three-quarters of a pound of fresh butter; add to it a pound of powdered loaf-sugar; and stir the butter and sugar together till very light and white. Have ready 14 ounces (two ounces less than a pound) of sifted flour; a powdered nutmeg; and a tea-spoonful of powdered cinnamon—mixed together. Beat the whites of ten eggs till they stand alone; then the yolks till they are very thick and smooth. Then mix the yolks and whites gradually together, beating very hard when they are all mixed. Add the eggs, by degrees, to the beaten butter and sugar, in turn with the flour and the scraped chocolate,—a little at a time of each; also the spice. Stir the whole very hard. Put the mixture into a buttered tin pan with straight sides, and bake it at least four hours. If nothing is to be baked afterwards, let it remain in till the oven becomes cool. When cold, ice it.

Lincoln Perry, the First African-American Movie Star

Lincoln Perry (stage name Stepin Fetchit) circa 1927
Lincoln Perry (stage name Stepin Fetchit) circa 1927
Hulton Archive/Getty Images

Before the likes of Sidney Poitier and Denzel Washington, successful African-American actors were hard to find in Hollywood. Lincoln Perry (1902-1985) is often credited as the world’s first African-American movie star. Using the stage name Stepin Fetchit, he is also said to be the first black actor to become a millionaire.

Born in Key West, Florida, Perry had a Jamaican father and Bahamian mother. His father, Joseph Perry, was a cigar wrapper and cook who sometimes sang and danced in minstrel shows. His mother, a devout Catholic, worked as a seamstress for a dentist’s family. As a young teenager, Perry sang and tap-danced as a tent-show performer, traveling around the U.S. with carnivals and medicine shows. In his twenties, Perry performed in black vaudeville shows as one-half of a duo called “Step and Fetch It” (although he also claimed to have taken the name "Stepin Fetchit” from a racehorse). After he came to Los Angeles in the 1920s, a talent scout for Fox Studios offered him a screen test, which proved successful.

During his career, Perry appeared in more than 40 movies, such as 1929’s Hearts In Dixie, 1930’s A Tough Winter, and 1934’s Judge Priest. In one of his early roles, 1927’s silent film In Old Kentucky, Perry won audiences over by providing comic relief. He got a contract with Fox to appear in the studio’s films as a featured player. Credited as Stepin Fetchit, Perry pretended to be “The Laziest Man On Earth” (or sometimes “The Laziest Man In The World”) to make audiences laugh, and he played a similar character in multiple films.

Perry’s peak of fame and fortune was in the 1930s, when he became a millionaire. Newspapers, magazines, and tabloids featured articles on Perry and his extravagant lifestyle. He reportedly owned a dozen cars (including a pink Cadillac with his name in neon lights), wore expensive cashmere suits, and had 16 servants and chauffeurs. He also attended Hollywood parties with celebrities such as Will Rogers, John Wayne, Mae West, Shirley Temple and, later, Muhammad Ali.

Beginning in the 1930s, though, Americans (black and white) and civil rights leaders harshly condemned Perry’s portrayals. Because he frequently played lazy, illiterate characters—often an aloof, slow, confused man with drooping eyes and rambling, incoherent speech—Perry was called out for promoting racist stereotypes. Criticized as a buffoon, an embarrassment, and a degrading caricature, Perry’s characters were seen as perpetuating the contemporary racist ideas of black people as lazy, dumb, and unsophisticated.

At the time, the NAACP was working to get film studios to give equal pay and billing to black and white actors, and to stop portraying black people negatively. Perry tried to get equal pay and billing from Fox, but failed, and quit Hollywood by 1940. In 1947, he was bankrupt. His acting work was sporadic in the 1950s, 1960s, and 1970s. He died in 1985 in Los Angeles, at a hospital for members of the motion picture and television industry.

Although black historians and critics have often viewed Perry’s contributions to cinema negatively, some of them take a more nuanced view. Jimmie Walker, a black comedian, said that he doesn’t think Stephin Fetchit is all bad. According to Walker, Perry created a funny character that actually functions as a subversive trickster. In films, Perry’s character would often outsmart white characters by pretending to be incompetent so that the white people would get impatient and end up doing the work themselves. Black film critic Mel Watkins has said that African-Americans understood that Perry’s character had its origins in slaves resisting work, and found the humor in it.

Because Perry was billed as Stepin Fetchit rather than as Lincoln Perry, audiences had a difficult time separating the actor from his character. In a 1968 interview, Fetchit said, “Just because Charlie Chaplin played a tramp doesn't make tramps out of all Englishmen, and because Dean Martin drinks, that doesn't make drunks out of all Italians … I was only playing a character, and that character did a lot of good.” Far from being lazy or stupid himself, Perry wrote regular columns for The Chicago Defender newspaper to share his experience in Hollywood.

In 1976, Perry got a Special NAACP Image Award for his accomplishments, and he has a star on the Hollywood Walk of Fame under the name Stepin Fetchit. Despite disagreements about Perry’s legacy, many agree that he opened a door for black actors in Hollywood.

This article first ran in 2017.

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