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                    <text>THE REDEEMER
Leland L. Bush

The new morning sun shone partly through the slats of the boardedup window where the Red Clouds lived. Young Johnny Red Cloud lay star­
ing at the opening which allowed the sun to slip into their one-room shanty.
It is Easter morning,” thought Johnny. “Yes, Easter morning. I must not
be late for Mass so as not to disappoint Father Mannard, for it is my turn
to assist in communion.” Sitting up, hunched over on his knees, Johnny
gazed bitterly at the surroundings in which they lived, wondering how God
could let them exist in this dump—unfit for a rat’s nest. Lifting his eyes to
the cots in which Mr. and Mrs. Red Cloud slept, Johnny wondered if they
would come home today or the next. “Probably today,” he thought to him­
self. “Today is Easter and Moore’s Bar will be closed. Then they’ll just lie
there. Lie there in their stench, too drunk to brush the flies away.”
Johnny felt the cold, hard steel of his gun against his bare leg, the eun
he had stolen from the rancher near the mission. He smiled to himself as he
thought of his crafty trick: “Right out from under his nose, the stupid white
eyes!” The rich rancher would never suspect, for he often saw Johnny at
Mass, and who could suspect an altar boy—a child of God. No, he would
never suspect.
I hate them! I hate the white eyes in their fancy houses and big
ranches. Papa is no good; he won’t work. He just sits in Moore’s Bar with
Mama and begs what whiskey he can from the proprietor, and ...”
“Johnny! Johnny! whispered his younger brother Robert, “are we still
gonna go hunting with your new gun before Mass?”
Startled, Johnny looked down irritably at the questioning look of his
seven-year-old brother. “Yah, sure,” he said, “get your clothes on.” “Robert
is too young, six years younger than me, thought Johnny to himself, “too
young to know what life is all about. No, he doesn’t understand how the
white man can ...”
“We must get a big deer and then tonight we can have a feast,” babbl­
ed Robert, excited at going hunting.
Will you shut up,” snapped Johnny, “you want to wake your sister?”
I m sorry, Johnny, I didn’t mean to make so much noise,” Robert
meekly replied.
Picking up his newly acquired rifle, Johnny led his younger brother out
into the early morning light. They were soon picking their way over rocks
and boulders and between the brush and aspen trees which encroached in
their path. Occasionally a goss hawk would shrill the air breaking the calm­
ness.
Suddenly a jackrabbit veered out from beneath a clump of scrub brush.
“Shoot him, Johnny!” yelled Robert, “get him quick!”
—6—

�“No! No, he is too small,” Johnny retorted sharply, “and for the sec­
ond time today, shut up, or do you want to scare everything away?”
The brothers silently continued their hunt, weaving in and out of the
underbrush; the younger, stinging from the harsh rebuff of his brother, and
the elder, gun in hand, burning with triumph at having swiped the white
man’s gun.
“Look, Johnny,” whispered Robert, his finger pointing toward a dense
growth of trees.
Something stirred, rustling the quaker leaves. Quickly, Johnny raised
the gun to his shoulder and sighted the trees. Squinting his eyes, he squeezed
the trigger. The shot cracked through the still morning air. Robert scrambl­
ed over the rocks and through the brush to the spot, only to stare in dis­
belief at his feet. Johnny ran to his side and gazed down blankly at an in­
nocent bundle of brown fur at his feet—crimson with blood.
“Oh,” Johnny gasped, “it’s only a puppy.” Sudden compassion over­
came him, and his eyes blinded with tears and trickled down his dusty
cheeks.
Robert sadly lifted his dark eyes to Johnny’s face, “Yes, it is only a
poor little puppy.”
Wiping his face with the back of his hand, Johnny said, “Come on
Robert we will be late for Mass and Father Mannard will be angry.”
Slowly turning, they started back in the direction they had come.
Johnny glanced over his shoulder at the little dog stained with blood and
shivered under his shirt.
“We will bury him,” said Robert. “God says everyone should be
buried.”
Looking down at his brother’s round, childish face, Johnny soberly
nodded his head in silent agreement.
Four hours later, Johnny and Robert returned to bury the little victim
they had thoughtlessly slain. They stopped at the aspen grove where the
little dog had lain. Now all that remained was a dried patch of blood. The
two brothers stood stupified, staring in bewilderment at each other. Then
Johnny kneeled beside the empty spot and bent his head on his chest, his
long black hair hanging in his eyes. He looked at the stolen gun in his
hands and remembered the Priest’s words from Mass: “Take, eat, for this
is Christ’s body that died for you. Drink, for this is his blood that was shed
for your sins.”
“Where is he, Johnny?” asked Robert with pleading eyes.
Johnny suddenly jumped to his feet and, with all the strength he could
muster, threw the gun against the trunk of a tree.
Then he turned, placing his arm around Robert’s shoulder “He is
risen, my brother.”
—7—

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                <text>The Casper College Archives has archived this story to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses. Requests to take this story down should be made to the Casper College Goodstein Foundation Library Western History Center.</text>
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                    <text>Dear Elizabeth DeGrenier,
I am writing to inform you of the work that we at the Casper College Western History have
completed in regards to tracking and curating materials for a small exhibit involving images
and recollections of Frontier Cattle Industry Networks and the Johnson County War. I’m a
spring semester intern working under the supervision of Hanz Olson, and this project is a
part of my training in collections management and civic-oriented interpretation. Thus far
we have made progress on recording and preparing images from the Charles “Chuck”
Morrison collection, and several other collections, in preparation for the upcoming GLAM
exhibit: "The West: Past, Present, and Future".
As we at the center continue refining the installation, we want to be sure that it aligns
thoughtfully with broader statewide interpretive efforts. We were wondering if it would be
possible to view or briefly discuss your interpretive plan or key themes for the Johnson
County War or related civic-engagement work? Our aim is to ensure that this installation
complements– not contradicts– ongoing programming and priorities.
I would also like to inquire as to whether it would be acceptable to add two interpretive
panels above the installation, connected visually with a two-way arrow between them. We
are hoping to pair an artifact drawn from your interpretive framework with one from our own
selection to highlight dialogue between perspectives.
Additionally, to my previous requests, we were wondering if it would be possible for
possibly several members of the center and myself to visit the State Museum to assess
your exhibit featuring the event? Those of us at the center would value the opportunity to
better understand your interpretive approach and explore ways to further collaborate or
align this installation with your work.
I would also like to recognize your leadership in civic programming initiatives such your
Civic Season Programming initiative, the monthly Family Days, and educational outreach
initiatives. Furthermore, if there is preferred language or framing you recommend when
connecting historical interpretation to civic participation/engagement today, I would greatly
value your input.
Thank you greatly for your time, and I would be happy to further discuss whenever
convenient.
Best regards,
Libby Baker, The Western History Center.

�Dear Christian Coppedge,
I hope that this message finds you well. As we at the Western History Center at Casper
College are preparing for a new spring exhibit GLAM: "The West: Past, Present, and Future",
featuring the Johnson County War, we are hoping to collaborate with local Wyoming
institutions as we frame the event and any related civic themes. In the course of our
collections review, we recently discovered two copies of a photograph depicting a
haywagon battering ram constructed during the Johnson County War as well as a note
alongside the two images. We were intrigued by the connection of the images to the war
and wanted to reach out to you directly.
This upcoming spring, we are working to launch an exhibit that seeks to deepen public
understanding and reflection around Wyoming’s past. Our goal is to foster thoughtful
engagement with the historical event, any tensions, and community impacts raised by
events like the Johnson County War. In the spirit of our goal, we are open to and hopeful for
any opportunity to collaborate with your institution for our upcoming exhibit.
We are writing to inquire about the possibility of including a copy of the battering ram
photograph in our spring exhibit, with appropriate accreditation and acknowledgement to
your institution? If so, we would also value any contextual information you have available
on the material so that we may be able to present the photographs in a way that aligns with,
and honors, your work.
Thank you for your consideration on this request, and we look forward to any opportunity to
build connections between our institutions and contribute to a deepened public
conversation about Wyoming’s past.
Best regards,
Libby Baker, The Western History Center.

�</text>
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                <text>PDF containing opening communications to two resident Wyoming museums on behalf of intern Libby Baker regarding the curation of the GLAM exhibit. The contents include: inquiries to the Wyoming State Museum for interpretive alignment as well as requests to the Yellowstone County Museum for permission to use a photographic copy in the GLAM exhibit and a call for contextual data on said image. </text>
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                    <text>Dear Elizabeth DeGrenier,
I am writing to inform you of the work that we at the Casper College Western History have
completed in regards to tracking and curating materials for a small exhibit involving images
and recollections of Frontier Cattle Industry Networks and the Johnson County War. I’m a
spring semester intern working under the supervision of Hanz Olson, and this project is a
part of my training in collections management and civic-oriented interpretation. Thus far
we have made progress on recording and preparing images from the Charles “Chuck”
Morrison collection, and several other collections, in preparation for the upcoming GLAM
exhibit: "The West: Past, Present, and Future".
As we at the center continue refining the installation, we want to be sure that it aligns
thoughtfully with broader statewide interpretive efforts. We were wondering if it would be
possible to view or briefly discuss your interpretive plan or key themes for the Johnson
County War or related civic-engagement work? Our aim is to ensure that this installation
complements– not contradicts– ongoing programming and priorities.
I would also like to inquire as to whether it would be acceptable to add two interpretive
panels above the installation, connected visually with a two-way arrow between them. We
are hoping to pair an artifact drawn from your interpretive framework with one from our own
selection to highlight dialogue between perspectives.
Additionally, to my previous requests, we were wondering if it would be possible for
possibly several members of the center and myself to visit the State Museum to assess
your exhibit featuring the event? Those of us at the center would value the opportunity to
better understand your interpretive approach and explore ways to further collaborate or
align this installation with your work.
I would also like to recognize your leadership in civic programming initiatives such your
Civic Season Programming initiative, the monthly Family Days, and educational outreach
initiatives. Furthermore, if there is preferred language or framing you recommend when
connecting historical interpretation to civic participation/engagement today, I would greatly
value your input.
Thank you greatly for your time, and I would be happy to further discuss whenever
convenient.
Best regards,
Libby Baker, The Western History Center.

�</text>
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                    <text>Dear Christian Coppedge,
I hope that this message finds you well. As we at the Western History Center at Casper
College are preparing for a new spring exhibit GLAM: "The West: Past, Present, and Future",
featuring the Johnson County War, we are hoping to collaborate with local Wyoming
institutions as we frame the event and any related civic themes. In the course of our
collections review, we recently discovered two copies of a photograph depicting a hay
wagon battering ram constructed during the Johnson County War as well as a note
alongside the two images. We were intrigued by the connection of the images to the war
and wanted to reach out to you directly.
This upcoming spring, we are working to launch an exhibit that seeks to deepen public
understanding and reflection around Wyoming’s past. Our goal is to foster thoughtful
engagement with the historical event, any tensions, and community impacts raised by
events like the Johnson County War. In the spirit of our goal, we are open to and hopeful for
any opportunity to collaborate with your institution for our upcoming exhibit.
We are writing to inquire about the possibility of including a copy of the battering ram
photograph in our spring exhibit, with appropriate accreditation and acknowledgement to
your institution? If so, we would also value any contextual information you have available
on the material so that we may be able to present the photographs in a way that aligns with,
and honors, your work.
Thank you for your consideration on this request, and we look forward to any opportunity to
build connections between our institutions and contribute to a deepened public
conversation about Wyoming’s past.
Best regards,
Libby Baker, The Western History Center.

�</text>
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&lt;div class="element-text"&gt;&lt;em&gt;Expression&lt;/em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.&lt;/div&gt;&#13;
&lt;/div&gt;&#13;
&lt;/div&gt;&#13;
&lt;/div&gt;&#13;
&lt;/div&gt;&#13;
&lt;/div&gt;</text>
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            <name>Date Created</name>
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                <text>2024</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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            <name>Creator</name>
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                <text>Logan Smith</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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              <elementText elementTextId="92211">
                <text>Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>CCA 04.ii.c.2022.01_Exp_2024_Art_62</text>
              </elementText>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="92213">
                <text>TIF</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Casper College</text>
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