Reviewed by: Mary Austin and the American West Karen S. Langlois Mary Austin and the American West. By Susan Goodman and Carl Dawson. Berkeley: University of California Press, 2008. 344 pages, $29.95. This biography is a wonderful addition to scholarship on the writer Mary Hunter Austin (1868–1934). The biographical details add to the information that is available in Austin's autobiography, Earth Horizon (1932), and in two previous biographies. Beautifully written and wonderfully researched, it will prove indispensable to those who are familiar with Austin's work while also appealing to a wider audience. Austin is best remembered for writing the California classic The Land of Little Rain (1903). She has a vast oeuvre—thirty books in a wide variety of genres, including nature writing and long and short fiction, as well as articles, plays, and poetry. Her subjects range from her beloved desert landscapes and the people who inhabited them to the important issues of her day. Many readers are familiar with the general contours of her early life—her birth and youth in Carlinville, Illinois; her graduation from Blackburn College; her trip west at age twenty; her marriage to Stafford Wallace Austin. These are detailed in the biography's first chapter titled "Desert Places." Her years in California, which were the inspiration for many of her finest works, were also the period of two of her greatest heartbreaks: the realization that her only child was mentally disabled and the understanding that her married life would fail. The biography covers Austin's life in the high desert towns of Lone Pine, Independence, and Bishop; her move to the literary colony of Carmel, California, after her separation from her husband; and her travels to England and Italy. Later chapters consider her life in New York City and her eventual relocation to Santa Fe, New Mexico, where she lived until her death at age sixty-four. Goodman and Dawson examine her literary work and her association with important figures of her day, such as Charlotte Perkins Gilman, Lincoln Steffens, Mabel Dodge Luhan, and Lou and Herbert Hoover. They also explore her activism in many of the important issues of her time, including the diversion of Owens Valley water to Los Angeles, women's rights, Native American rights, and the preservation of Native American and Spanish Colonial arts. In the last chapter, "The Accounting," they offer a summary of Austin's legacy. For all its merits, the biography does not displace Austin's engaging autobiography, which, though unwieldy, is poetic and insightful. It also does not negate the straightforward, no-nonsense insights of Austin's [End Page 104] first biographer, Augusta Fink, in I-Mary (1983). Furthermore, it does not attempt to ground Austin in American studies and feminist theory, the approach of Esther F. Lanigan in her critical biography, Mary Austin: Song of a Maverick (1989). Goodman and Dawson do offer more detailed information on Austin's life and times. Eventually, the book brings to mind a significant question. What genuine new insights are offered by this third biographical narrative of Austin's life? In that, the biography somewhat disappoints. In addition to her achievements, Austin is also distinctive for her theatrical, unconventional personality. For example, in Carmel, the thirty-eight-year-old Austin was noted for wearing flowing robes and writing in a tree house she called her "wickiup." In 1922, at a dinner in her honor at the New York City National Arts Club, she was escorted by a young Chickasaw artist, who was dressed in quill embroidered buckskin and wore a flamingo feather headdress and a necklace made out of alligator teeth. In addition to her eccentricities, Austin was known for being insufferably egotistical. She also had a well-earned reputation for exaggerating or disregarding facts. The challenge to biographers is to capture her complex persona. Scholars who are familiar with her correspondence know all too well that Austin could fly into a rage and hurl insults at her family, friends, and professional associates. Austin was, on various occasions, referred to as "the Priestess at Delphi" because of her know-it-all approach, "God's Mother-in-Law" because of her imperious attitude, and "Sitting Bull...