work on her next novel, Slogum House, a gritty and realistic tale about a ruthless Nebraska family. By January 1934, she returned to Lincoln, and got a job at the Nebraska State Historical Society, where she became associate editor of Nebraska History magazine. In 1935, she received word that her revised version of Old Jules had won a non-fiction contest held by Atlantic Press, after fourteen rejections. Finally, her book would be published. Before that happened, however, she had to fight her editor to retain the distinctive Western idiom in which she had written the book, as her publishers wanted her to standardize the English used in the book. The book was well-received critically and commercially when it was issued, and became a Book of the Month Club selection. Some readers were shocked at her unromantic depiction of the Old West, as well as her strong language and realistic portrayal of the hardships of frontier life. Later life and works In 1937, Sandoz published Slogum House, a novel set in the Sandhills that warned about the rise of fascism. The novel was criticized for being dirty, and both the Nebraska cities of McCook and Omaha banned it from their respective libraries in 1938. During this time, Sandoz moved the Shurtleff Arms at 645 South 17th Street. This is the only extant Lincoln residence of Sandoz. There she wrote her second novel Capital City (1939), which brought her notoriety of a different nature: hate mail and threats. Slogum House was considered an attack on the character of rural Nebraskans, and Capital City was perceived as an assault on the city of Lincoln. In 1940, Sandoz moved to Denver, partly to escape the backlash, and also for better research facilities. Later, in 1943, she settled in New York City so she could access the research material on the West, and have proximity to her publishers. In 1942 her monumental biography of the great Lakota leader Crazy Horse was published. It is entitled Crazy Horse: The Strange Man of the Oglalas. Sandoz proved to be ahead of her time by writing the biography from within the Lakota world-view, using Lakota concepts and metaphors, and even replicating Lakota patterns of speech. Some critics consider it her greatest work. As she says in her preface to Crazy Horse: Her meticulous attention to detail, her in-depth research, and her admiration of the Plains Indian culture is