Mari Sandoz's Cheyenne Autumn stands as a poignant tribute to the epic saga of the Great Plains' settlement, an era rife with both grandeur and tumult. As the third installment in Sandoz's Great Plains series, this work interlaces the harsh reality of the Old West with its legendary allure—capturing the violence, beauty, bravery, and endurance of the period. Notable for its evocative portrayal of the Northern Cheyenne's valiant return to their ancestral homeland, the book shines with an elegiac tone that underscores the profound struggles faced by the Northern Cheyenne. Sandoz's commitment to real historical narratives sets her apart, employing a raw realism to resurrect the annals of Western history, thus offering a perspective that is both factual and steeped in the mythic essence of the Frontier West.

Sandoz's Great Plains series also includes incisive works such as Old Jules (1935), which captures the life of her Swiss pioneer father in Nebraska, and Crazy Horse: The Strange Man of the Oglalas (1942), detailing the life of the renowned Oglala chief. This series spans titles that document pivotal moments and figures in Western expansion, including The Buffalo Hunters (1954), The Cattlemen of the Rio Grande Across the Far Marias (1958), and The Beaver Men (1964). Of these, Cheyenne Autumn remains particularly potent, drawing readers into its historical narrative with a commanding sense of authenticity.

Though less celebrated than her fellow Nebraska author Willa Cather, Sandoz's commitment to historical veracity offers an unparalleled window into past human experiences. Her works, such as Slogum House (1937) and Capital City (1939), stem from meticulous research, establishing her as a formidable historian who began her career with the Nebraska State Historical Society. As editor of Nebraska History, she honed her skills, blending academic precision with narrative flair.

Cheyenne Autumn finds a unique partner in Karl Llewellyn and E. Adamson Hoebel’s The Cheyenne Way (1941), an interdisciplinary dive into Cheyenne law and culture. A related work by Sandoz, The Horsecatcher (1957), offers a lighter, more accessible portrayal of Cheyenne life, appealing to younger audiences with its coming-of-age storyline.

In stark contrast to Sandoz's careful historical reconstruction, the 1964 film adaptation of Cheyenne Autumn, directed by John Ford, departs dramatically from the original work’s tone and intent. The film's deviations and anachronisms were later humorously critiqued by Tony Hillerman in his novel Sacred Clowns (1993), illustrating the chasm between Sandoz's vision and Hollywood's rendition. Despite this cinematic misinterpretation, Sandoz's literary contributions continue to offer a compelling and authentic glimpse into the fabric of American frontier history.