Part 18 (1/2)

Coyote Waits (1990) (1990) When a bullet kills Officer Jim Chee's good friend Del, a Navajo shaman is arrested for homicide, but the case is far from closed - and requires Leaphorn's involvement, as well.

TH: When Barney [Hillerman, the author's brother] and I were prowling the Four Corners with me writing and him photographing stuff for our Hillerman Country Hillerman Country [1991] he taught me a lesson in optical perspective that solved Leaphorn's problem in finding the needed witness. Barney anthropomorphized cliffs, canyons, trees, etc., turning their reflected lights and shadows into presidential profiles, bears, and so forth. (Something I do with cloud formations, seeing in them not only G.o.d's glory but dragons, Popeye, and aircraft.) [1991] he taught me a lesson in optical perspective that solved Leaphorn's problem in finding the needed witness. Barney anthropomorphized cliffs, canyons, trees, etc., turning their reflected lights and shadows into presidential profiles, bears, and so forth. (Something I do with cloud formations, seeing in them not only G.o.d's glory but dragons, Popeye, and aircraft.) ”Stop,” Barney would say, and point at a rock formation. ”See the zebra with the pipe in his mouth?”

I'd say no. He'd say back up a little. We'd stop where all the necessary elements would line up properly and I would either see suggestions of a zebra or, often, simply say I did and drive on with Barney explaining how viewer position and the optics of telescopic lenses affect what you see. It was the sort of data I usually find easy to forget, but I remembered it when stuck for a logical way to have a witness out in empty country witnessing a murder. He became a lonely high school kid whose hobby was landscape photography and who found a way to declare his love for a girl by careful placement of white paint on basalt rocks so the message could be read only from the perspective of her hogan.

I spent weeks trying to have Leaphorn figure that out, wis.h.i.+ng I'd never heard of optical perspective.

Sacred Clowns (1993) (1993) Officer Chee attempts to solve two modern murders by deciphering the sacred clown's ancient message to the people of the Tano pueblo.

TH: This book grew from something left over from an earlier one. The Dark Wind The Dark Wind had required me to learn about the Hopi. I had slept in my pickup at the edge of Walpi, awaiting morning to interview a fellow for a magazine article. I awoke at sunrise (easy when you've been cramped in a Toyota truck) and saw a man emerge from a house. He held the bundle he was carrying up toward the rising sun, stood like that for a long moment, apparently chanting, and then disappeared again into his house. had required me to learn about the Hopi. I had slept in my pickup at the edge of Walpi, awaiting morning to interview a fellow for a magazine article. I awoke at sunrise (easy when you've been cramped in a Toyota truck) and saw a man emerge from a house. He held the bundle he was carrying up toward the rising sun, stood like that for a long moment, apparently chanting, and then disappeared again into his house.

I learned he had been presenting his eight-day-old child to G.o.d, symbolized by the rising sun, in a ceremony in some ways like a Christian baptism and in some ways more than that. The elder I interviewed explained that the chant he had sung presented the infant as a child of G.o.d, and recognized the human father and mother as foster parents - promising to nurture G.o.d's child by the Creator's rules and asking G.o.d's blessings on this task.

Sacred status given children in the religious philosophy of many of the pueblos cast light for me on the role of the Koshare, Mudhead, and other ”sacred clown” societies and helps explain why one rarely sees a pueblo child thumped on the ear or otherwise physically punished. I share this belief that each human has this special relations.h.i.+p with G.o.d who (”Judgment is mine, sayeth the Lord”) will take care of meting rewards and punishment. Therefore, I spent untold months trying to come up with a way to use it in a plot in a book we named Mudhead Kiva Mudhead Kiva.

During this process I discover I have cancer, spend some time in the hospital - wonderful periods away from the telephone for thinking. By the time I got back to serious writing, Mudhead Kiva Mudhead Kiva has died and has died and Sacred Clowns Sacred Clowns has emerged, leaving HarperCollins to explain an imaginary book they had been advertising. However, the story improved as much as the t.i.tle. has emerged, leaving HarperCollins to explain an imaginary book they had been advertising. However, the story improved as much as the t.i.tle.

Finding Moon (1995) (1995) Moon Mathias discovers his dead brother's baby daughter is waiting for him in Southeast Asia - a child he didn't know existed. Finding her in the aftermath of the Vietnam War brings out a side of Moon he had forgotten he possessed.

TH: Closest to my heart, but not to those of editor, publisher, and many of my readers. Peter Thorpe, the talented jacket designer of my Navajo police books, did a beauty for this one - painting a moon rising over Cambodian mountains with the figure of man outlined against its face. I got an early look and endorsed it, whereupon it was redesigned to fit more into the pattern of my previous books - the sort of development that reminds writers of their place in the publis.h.i.+ng world.

The Fallen Man (1996) (1996) A man met his death on s.h.i.+p Rock Mountain eleven years ago, and with the discovery of his body by a group of climbers, Chee and Leaphorn must hunt down the cause of his lonely death.

TH: Several notions in my collection of potential story ideas collided for this one. Idea One was to leave a mountain climber trapped atop s.h.i.+prock, as was Monster Slayer in the Navajo origin story. Two was having a custom-made compet.i.tion rifle firing custom-made ammo used by a sniper on the rim of Canon de Ch.e.l.ly to a.s.sa.s.sinate a witness far below. Three was to involve cattle rustling and the antirustler tactics of working with ”watchers.” Some of these worked but a half dozen others misfired, forcing me to learn a lot more about serious mountain climbing than I wished.

First Eagle (1998) (1998) When Acting Lt. Jim Chee catches a Hopi poacher huddled over a butchered Navajo Tribal police officer, he has an open-and-shut case - until his former boss, Joe Leaphorn, blows it wide open.

TH: This book was trigged by a new death penalty law for certain felonies on federal reservations. Since about ninety-five percent of federal reservation acreage is also Indian Reservation acreage this looked like a special ”Death Penalty for Indians Law.” Making the book work required a plot even more convoluted than those I usually impose upon readers. Luckily Marie [Hillerman's wife] was a bacteriology major, a big help in working bubonic plague into the plot - as were the vector controllers who hunt down the sources of the disease and the bacteriology professors upon whom I imposed.

I gave myself a problem by picking Gold Tooth, Arizona, as a crucial location because my map showed it in the very empty country where Hopi and Navajo territory abut. Wonderful name, Gold Tooth, and a ghost town, too, but I couldn't find the unimproved dirt road that was supposed to lead to it to get a visual fix. That bothered me. So Marie and I made another ”find Gold Tooth” journey along the road between Moenkopi and the Hopi Mesa, looking for some sort of junction. We failed again, but at the Tuba City Trading Post found a Navajo woman who knew the way.

”Past the top of the hill out of Moenkopi Wash, drive slow and keep a close watch beside the road to your right. In about a mile you see a place where people have turned off the pavement. Follow the track maybe fifteen miles or twenty miles or so.”

We found the tire tracks, drove the fifteen or so miles, past one distant windmill, past three cows, and came finally to a roofless, windowless stone building to our right and an old-fas.h.i.+oned round hogan to the left. It didn't look much like what I'd described, but Marie consoled me with the reminder that not many of my readers would be seeing it.

Hunting Badger (1999) (1999) Hunting Badger finds Navajo tribal police officers Joe Leaphorn and Jim Chee working two angles of the same case - each trying to catch the right-wing militiamen who pulled off a violent heist at an Indian casino. finds Navajo tribal police officers Joe Leaphorn and Jim Chee working two angles of the same case - each trying to catch the right-wing militiamen who pulled off a violent heist at an Indian casino.

TH: An actual crime - odd enough to fill the need of any mystery writer - was the seed from which Hunting Badger Hunting Badger grew. I planned to use the sour memories of the event: theft of a water tank truck by three heavily armed men, murder of the policeman who stopped them, an FBI-orchestrated, incredibly bungled, Keystone Cops manhunt, evacuation of Bluff, Utah, quarter-million-buck federal reward offer, which attracted a horde of bounty hunters, vast waste of tax money, etc., as the background for my plot. I thought it would make an easy book to write. It didn't. I was left with the problem of how to have my own bandidos escape. Help came from some elderly aviators who filled me in on the sort of vintage aircraft I needed to delude my FBI characters, and from Patti Collins and her Environmental Protection Administration helicopter crew, who provided data on abandoned coal/uranium mines where I needed them. grew. I planned to use the sour memories of the event: theft of a water tank truck by three heavily armed men, murder of the policeman who stopped them, an FBI-orchestrated, incredibly bungled, Keystone Cops manhunt, evacuation of Bluff, Utah, quarter-million-buck federal reward offer, which attracted a horde of bounty hunters, vast waste of tax money, etc., as the background for my plot. I thought it would make an easy book to write. It didn't. I was left with the problem of how to have my own bandidos escape. Help came from some elderly aviators who filled me in on the sort of vintage aircraft I needed to delude my FBI characters, and from Patti Collins and her Environmental Protection Administration helicopter crew, who provided data on abandoned coal/uranium mines where I needed them.

The Wailing Wind (2002) (2002) To Officer Bernadette Manuelito, the man curled up on the truck seat was just another drunk - which got Bernie in trouble for mishandling a crime scene - which got Sergeant Jim Chee in trouble with the FBI - which drew Lieutenant Joe Leaphorn out of retirement and back into the old ”Golden Calf” homicide, a case he had hoped to forget.

Nothing had seemed complicated about that earlier one. A con game had gone sour. A swindler had tried to sell wealthy old Wiley Denton the location of one of the West's mult.i.tude of legendary lost gold mines. Denton had shot the swindler, called the police, confessed the homicide, and done his short prison time. No mystery there.

Except why did the rich man's bride vanish? The cynics said she was part of the swindle plot. She'd fled when it failed. But, alas, old Joe Leaphorn was a romantic. He believed in love, and thus the Golden Calf case still troubled him. Now, papers found in this new homicide case connect the victim to Denton and to the mythical Golden Calf Mine. The first Golden Calf victim had been there just hours before Denton killed him. And while Denton was killing him, four children trespa.s.sing among the rows of empty bunkers in the long-abandoned Wingate Ordnance Depot called in an odd report to the police. They had heard, in the wind wailing around the old buildings, what sounded like music and the cries of a woman.

Bernie Manuelito uses her knowledge of Navajo country, its tribal traditions, and her friends.h.i.+p with a famous old medicine man to unravel the first knot of this puzzle, with Jim Chee putting aside his distaste of the FBI to help her. But the questions raised by this second Golden Calf murder aren't answered until Leaphorn solves the puzzle left by the first one and discovers what the young trespa.s.sers heard in the wailing wind.

From Seldom Disappointed: A Memoir (2001)

Tony Hillerman on...

i.How a white man white man such as myself... such as myself... ii.A sort of ii.A sort of life-changing weirdness life-changing weirdness that never went away that never went awayiii.Why my books tend to be noted for glitches noted for glitchesiv.Jim Chee, born of the marriage of Art and Greedv. ”Why did you change Leaphorn's name change Leaphorn's name to Chee?” to Chee?”vi.This FBI tendency to charge in and take over FBI tendency to charge in and take over where it knows not what it's doing where it knows not what it's doingvii.Location scoutingI.How a white man such as myself...

If my experience is typical the Frequently Asked Questions faced by writers at book signings are ”Where do you get the ideas?” and ”When do you write?” In my case, the first question is often how did a white man such as myself get acquainted with the Navajos and their traditional culture. Answering that requires a brief biographical recap, eight grades in an Indian school, Indian playmates, growing up knowing that the us of the us-and-them formula put us hardscrabble rural folks, Indians and whites, in the same category - contrasted with urban folks who had money, or so it seemed to us. In other words, I had no trouble at all feeling at home with Navajos. They were the folks I grew up with.

(”The FAQs,” p. 251, HarperCollins hardcover edition.) II.A sort of life-changing weirdness that never went away Another incident I've never forgotten was directly useful in a novel and had a lot to do with making me dead serious about trying to become a novelist. It happened in Santa Fe.

The call from the deputy warden was directly to the point. Robert Smallwood, scheduled to die that evening for a cold-blooded double murder, had asked to talk to me. If I wanted to see him, be at the prison main entrance at two p.m. ”Just me?” I asked. ”You and John Curtis,” he said. ”Curtis said he'd come.”

Curtis was manager of the Santa Fe bureau of the a.s.sociated Press but we were friends as well as compet.i.tors and made the fifteen-mile drive from Santa Fe to what was then the ”new prison” in his car. Smallwood was the news story of the day. At midnight he would become the first person executed in New Mexico's s.h.i.+ny new gas chamber. He had been condemned for murdering a newly-wed couple who had stopped to help him with a stalled (and stolen) car and he was a suspect in a list of other unsolved homicides. Such a death row visit was not new to me, and certainly not to Curtis, who was years my senior in the reporting business. We didn't expect much. Smallwood would rea.s.sert his innocence, or (better for our purposes) he'd admit the deed, proclaim his sorrow, and ask us to plead with the governor for a stay of execution. Or he would promise to reveal the ident.i.ty of the actual killer. Who could guess? Neither of us expected a big story and we didn't get one.

Instead, I got a notion implanted in my brain; a sort of life-changing weirdness that never went away. It was the thought that fiction can sometimes tell the truth better than facts. After listening to what Smallwood had to say I tried to write a short story, and kept trying until I finally got one written. It was bad. I didn't try to get it published. But I kept it and Smallwood remained in my memory until, years later, I needed him. Then he became Colton Wolf in People of Darkness People of Darkness [1980]. Those who have read that book already know what Curtis and I heard on death row of Cell Block 3 that afternoon. [1980]. Those who have read that book already know what Curtis and I heard on death row of Cell Block 3 that afternoon.

(”The FAQs,” pp. 256-257.) III.Why my books tend to be noted for glitches While finis.h.i.+ng The Fly on the Wall The Fly on the Wall [1971] I had come to a couple of conclusions. It was pretty good, including two or three top-notch scenes, but it wasn't likely to be heralded as the Big Book I'd intended. Second, the urge to go back to Officer Joe Leaphorn and the Dineh and do that right had persisted. [1971] I had come to a couple of conclusions. It was pretty good, including two or three top-notch scenes, but it wasn't likely to be heralded as the Big Book I'd intended. Second, the urge to go back to Officer Joe Leaphorn and the Dineh and do that right had persisted.

[Harper & Row editor] Joan Kahn's demands for improvement of Fly Fly were more modest than they had been for were more modest than they had been for Blessing Blessing [ [The Blessing Way, 1970] - mostly involving revision of the first chapter in which my hero was writing a political column crammed with names. She also wanted light cast into a couple of foggy corners and better motivation a time or two. But somehow this queen of mystery editors missed an awful boo-boo, and so did I, and so did the copy editor, and the book reviewers. Then one day with the book already out in paperback I ran into an old reporter friend from my Oklahoma City days whom I had used, thinly disguised, in the plot. Had he read it? Yep. What did he think of it? Okay, he said, but why did you have the hero [reporter John Cotton] going barefoot through those last chapters? What did he mean? Remember, he says, you have him remove his shoes and leave them atop that game department display so he won't make any noise? Yes, I remembered. Then he escapes through a window, climbing out into the sleet storm and - And now I remember. My hero never had a chance to recover the shoes. He walks blocks through the sleet to his lady friend's house, calls a cab, visits the Democratic Party state chairman, etc., all in sock feet.

Alas, my books tend to be noted for glitches, where I have characters drive south when I meant north, for example, or change the name of characters in the middle of a chapter, etc.

(”Back to the Dineh,” pp. 281-282.) IV.Jim Chee, born of the marriage of Art and Greed Satisfaction of [my agent's and editor's] desire that I produce the breakout book remained far in the future. First I had to create Jim Chee, a second Navajo police officer, and then be inspired to work him in tandem with Leaphorn - as a sort of uneasy team. I have been known to claim that Chee was the product of an artistic need, and that is partly true. But since I have promised nothing but the truth in these recollections I will admit to you my fondness for Joe Leaphorn was undermined by the knowledge that I only owned part of him, having signed away TV rights. This new book, People of Darkness People of Darkness [1980], would be set on the so-called Checkerboard Reservation on the eastern margin of the Big Reservation. It appealed to me story-wise because there the nineteenth-century railroad moguls had been given blocks of reservation land as a reward for laying transcontinental track, and more of the Navajo country had been divided off into alternate square miles of public land owners.h.i.+p. Not surprisingly, this had odd sociological effects - a mixture of Navajo with every type of unhyphenated American and a dazzling variety of religious missions - from the two versions of the Native American Church, though Catholic, Mormon, Presbyterian, Mennonite, Southern Baptist, and a galaxy of fundamentalist Evangelical churches. [1980], would be set on the so-called Checkerboard Reservation on the eastern margin of the Big Reservation. It appealed to me story-wise because there the nineteenth-century railroad moguls had been given blocks of reservation land as a reward for laying transcontinental track, and more of the Navajo country had been divided off into alternate square miles of public land owners.h.i.+p. Not surprisingly, this had odd sociological effects - a mixture of Navajo with every type of unhyphenated American and a dazzling variety of religious missions - from the two versions of the Native American Church, though Catholic, Mormon, Presbyterian, Mennonite, Southern Baptist, and a galaxy of fundamentalist Evangelical churches.

I had started this book with Leaphorn as the central character, but by now my vision of him was firm and fixed. Leaphorn, with his master's degree in anthropology, was much too sophisticated to show the interest I wanted him to show in all this. The idea wasn't working. This is the artistic motive. Behind that was disgruntlement. If any of my books ever did make it into the movies, why share the loot needlessly? Add greed to art and the motivation is complete.

Thus I produce Jim Chee, younger, much less a.s.similated, more traditional, just the man I needed. I modeled him after n.o.body in particular - a sort of composite of ten or twelve of those idealistic students of the late 1960s.

(”Breakout Book,” pp. 296-297.) V. ”Why did you change Leaphorn's name to Chee?”

Getting a publishable book written requires a lot of luck.