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63 pages 2 hours read

Hampton Sides

Blood and Thunder

Nonfiction | Book | Adult | Published in 2006

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Themes

Kit Carson as the Personification of the West

As part of his narrative approach to history, Sides uses real historical figures to embody major themes in Blood and Thunder. Stephen Watts Kearny represents the levelheaded peacemaker. John Fremont represents a privileged class of easterners whose ambitions outstripped their talent. Most importantly of all, Sides uses the life of frontiersman Kit Carson to trace the lifecycle of the American West. The story of the West unfolds with Carson as a guide: its halcyon wilderness beginnings, its bloody middle, and finally, its death rattle with the subjugation of the Native Americans. The phases of Carson’s life eerily mirrored those of the West itself. Carson is uniquely positioned to tell this story, Sides argues: He is the man who both made the West and destroyed it.

 

Carson grew up the early 1800s in Missouri, then the border between civilization and frontier. At 16, he became independent just as Mexico opened its borders to American trade in the 1820s, with the Santa Fe Trail serving as a transcontinental artery. For the first time, Americans could enter the West. Carson was borne on this first wave of trappers, where he was among the earliest Anglo-Americans to visit the “American Canaan, a wilderness, pure and mythic, stretching out for hundreds of miles” (271). Carson spent his young adult years here until he and the other mountain men hunted the beaver to near extinction: the first fatality of white incursion, but not the last.

 

Carson took the hybrid Indian/Anglo-American knowledge of the mountain men with him into the next phase of the West: exploration, research, and charting. He served as a guide for the expeditions of John C. Fremont, the right hand of Senator Thomas Hart Benton, the public cheerleader of Manifest Destiny. Although Fremont technically led the expeditions, Carson’s genius secured their success (as shown by Fremont’s solo—and disastrous—Fourth Expedition). Carson’s work convinced people to migrate west; on both a practical level (maps and guidebooks) and an inspirational level (dime store novels and legends), his exploits convinced many settlers to take a chance at the pioneer lifestyle. He was one of the first white men to succeed there, and he convinced others to try, too, ushering in a new age of migration in the West.

 

This flow of new people into an already contested region inevitably caused conflict. Carson played a pivotal role in both conflicts. As both a Union officer in the Mexican-American War and a chief player in the Indian Wars, he almost singlehandedly altered the flow of events. Fittingly, in the West’s death throes, Carson spent the last few years of his life acting as a peacemaker for the Indians. He understood, too late, that white aggression played an oversized role in wars that had removed the Indians from their homeland to be replaced by white interlopers. Carson’s attempts to right his wrongs presage modern-day America’s struggle with how to make reparations for the atrocities committed against indigenous peoples and African Americans in the not-so-distant past.

The Power and Pitfalls of Celebrity

Kit Carson’s life was already mythologized while he was still alive. With his deeds so far removed from “civilization” in the east, word of his exploits—true and not so true—quickly became the story of the American frontier. Throughout Blood and Thunder, Sides explores the effect this growing celebrity had on Carson, on those in his orbit, and on America at large.

 

Celebrity made Carson uncomfortable at first. An introverted and claustrophobic man, Carson disliked being mobbed in the streets. After the death of Ann White, a settler woman who was abducted and killed by Indians, he found a novel about him in her possessions. He imagined she might have hoped he, the hero of the West, would save her, and her death haunted him.

 

Carson’s celebrity shaped his acquaintances’ perceptions and expectations. He was never more out of his element than in Washington, D.C., where he was seen as a lovable but crude curiosity. Sides compares him to a Tarzan-like figure, taken from the wilds for the enjoyment of polite society. The easterners delighted in Carson’s apparent meekness and awkwardness yet were shocked as his capacity for cruelty. Jessie Fenton, perhaps Carson’s favorite person in Washington, was surprised at how animated he became when he talked about revenge, the very attribute which made Carson so successful in the West. Carson, the face and hand of Manifest Destiny, became a “savage” in his own land.

 

Strangers took advantage of Carson’s celebrity. In 1849, a hack named Charles Averill wrote the first paperback starring Carson—Kit Carson: the Prince of Gold Hunters. These “blood and thunders” bore little resemblance to Kit’s real life; he became a caricature, his story wrested from him. Even the account of his life Carson dictated and sanctioned, The Life and Adventures of Kit Carson, the Nestor of the Rocky Mountains, From Facts Narrated by Himself, embellished things.

 

Despite all the money made off of his legend, Carson didn’t see a penny from the sale of the books. Perhaps worse still, others used Carson’s persona as a measuring stick (or a veil for) their atrocities. The worst offender was John Chivington: “Posterity will speak of me as the great Indian fighter,” he gloated after murdering dozens of innocent Cheyenne women and children. “I have eclipsed Kit Carson” (495). Even Fremont, Benton, and other pro-Manifest Destiny personalities leveraged Carson’s exploits for their own purpose, using them to convince settlers to travel west. The disconnect between Carson’s portrayal as a red-blooded Indian killer and his growing unease with white aggression troubled Carson late in life.

 

Throughout Blood and Thunder, Sides argues that Carson was, essentially, the Ur all-American. In his adventurousness, his courage, and his equal capacities for cruelty and kindness, Carson embodied the best and the worst of American culture. His celebrity can be seen as another indicator of his all-American identity. Celebrity hero worship is, after all, as American as apple pie.

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