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We’ve had inquiries about when the Audio version of A SEARING WIND will be for same. The ever competent Julia Fincher as S&S, with the assistance of Lisa Keim, their charming subrights director, have imformed us that Western Audio will release A SEARING WIND on September 1. As good as COMING OF THE STORM and FIRE THE SKY were, we can’t wait!

Update on the Red Canyon Stone Circle: As this is written Dr. Laura Scheiber’s field school is finishing up the excavation units for this season. Each meter was divided into 50cm squares and carefully trowelled down with artifacts recorded as they were exposed. All dirt was carefully separated, screen with 1/8th in mesh, then each bucket of matrix was water-screened in 1/16th mesh to retrieve tiny artifacts like pressure flakes. Among the fascinating artifacts recovered were a .44 Colt boxer-primed brass case, an awl manufactured from a horseshoe nail, bits of red ocher and a yellow mineral for colors, more primers, obsidian flakes, a tin concho, bits of spalled iron, and chert and moss agate flakes. What’s immediately interesting is the amount of cultural material recovered. Doc Scheiber is one of the most knowledgable scholars of Plains stone circles, and the prehistoric ones rarely produce this amount of cultural material. It’s slowed the progress of the excavation just to record and process. We’re fascinated by the mix of European sourced vs locally sourced artifacts. It’s a mix of obsidian flakes–sharper than iron, things like the horsehoe nail awl–stronger and sharper than bone. In short, as a first impression, we’re getting a glimpse of the decisions the people were making about what to keep from old technologies: obsidian. And what to add from the new: Steel awls made from horseshoe nails. And the fact that so much material material was left behind indicates a higher standard of living in balance with the increased social and cultural stresses of the early reservation period.

Hello Everyone,   Writing is often an unexpected self-revelatory experience, and my latest dilemma is a case in point. While Mike drafts the new moundbuilder book, PEOPLE OF THE MORNING STAR, I am drafting a novel about first contact between North American Native peoples and Norse explorers. Called WINE DARK LAND–after the Norse designation of North America as “Vinland,” or Wine Land–the story is set at around A.D. 1000. WINE DARK LAND is proving a fascinating experience to write because it’s a blend of three spiritual traditions: Norse beliefs in Thor and Freyda, early Christian beliefs, and Native American beliefs. Historical documentation for the beliefs of the “invaders” is well-documented, and we can extrapolate Native beliefs based upon the modern beliefs the Naskapi, Eskimo, and Montagnais. WINE DARK LAND is proving interesting to write for another reason. In this book, we’re taking another step into the fantastic and allowing the Spirit creatures to be real. Yeah, okay, for those of you who’ve read our books and been carried off by the Katchinas, eaten by Bird Man, attacked by Piasa, and had long in-depth conversations with the souls of lost warriors condemned to walk the earth forever…well, this may not sound new. But here’s the curious dilemma I’ve been having. We are all familiar with elves, trolls, and vampires…creatures from European mythology. They are all “humanlike.” It isn’t a stretch to see them as real. After all, they walk in front of our eyes on TV and in movies, as do angels, demons, and a variety of gods. Thor and Odin are good recent examples. (Wasn’t Anthony Hopkins great as Odin?) Unfortunately–and I mean that profoundly–Americans are not accustomed to viewing Native Spirit creatures as real. It’s fine to show them in Dream scenes where the reader has an out…it’s just a dream. But how do I sustain “the willing suspension of disbelief” when it’s a non-human Spirit creature? Let me place you inside the dilemma with examples from a variety of traditions. First, let’s talk about animal Spirit creatures. So…put on your author’s hat. Give your readers enough details about Shoshoni lifeways that they can look out through the eyes of the Shoshoni culture hero, Pachee Goyo. Now take the readers on a walk through the rocky hills and up to the edge of sacred Bull Lake in Wyoming’s Wind River Mountains. It’s midday, sunny, lots of reflections of aspen and pine trees in the calm green water…now look down into the lake. Do you see them? Do you see the buffalo who live under the water? They’re right there, an entire herd placidly looking up at you with sparkles of sunlight dancing in their brown eyes and from their horns. They’re as curious about you as you are about them. They’re very Powerful Spirit creatures. Pachee Goyo has to wait to hunt them until they come out of the lake and step onto dry land–into his world. That wasn’t difficult, was it? Animal Spirit creatures are familiar enough that we “get” them. The author just has to–as Pachee Goyo teaches–allow them to come out of their magical world and into this world. Then they become “real” buffalo. But what about Iroquoian Flying Heads? Put on your author’s hat again…your readers are seeing through the eyes of a young Seneca woman. Now take them on a walk through the dense maple and oak forests of New York. It a cold morning, just before dawn. Pink light enamels the sky and glistens in the dew that covers the grass. There’s a sudden thrashing to your left, branches flail wildly. It sounds like the entire forest is being torn apart. You spin around with wide eyes and see a severed head with long flowing hair streaming out behind it. It rushes you, reaching out to grab you with enormous bear paws… Did you believe? Some of you did. But I suspect that many of you didn’t. Why not? If I’d been writing about a humanlike creature with big white wings stepping out of the forest, you might have felt awe, even reverence. Culture is fascinating, isn’t it? Here’s the self-revelatory element of this essay. Pachee Goyo’s lesson is something an author should not forget. Here’s what I mean. Put on your author’s hat again…I want you to change the point of view for your readers. They are no longer Pachee Goyo looking down at the water of sacred Bull Lake. Instead, they are walking in the body of a young European man, seeing through his eyes when he comes upon the lake by accident and suddenly looks down… Now the European man is in ancient New York following a deer trail through the dappled shadows cast by the maples when the forest seems to be crashing down upon him. He spins around to see a hideous disembodied head rushing him, reaching out with bear paws… Ah…there’s the awe we were missing. Do you understand? It’s easier for your reader to “see” when he or she is looking out through the eyes of a European. Often, that is even true of Native Americans. Why is that? They’re the same Spirit creatures. It’s the same setting. Here’s the difference: Pachee Goyo’s lesson. You must bring those creatures out of their magical world and into this world. And what is this world? It’s a cultural framework. A way of “seeing.” Most American readers, regardless of their ethnic or racial origins, know the worldview of the European man. The reader stands easily in his Judeo-Christian boots, looks out through his eyes with no effort at all. The reader is “safe” interpreting what he sees through a lens, millenia old, where bizarre things go bump in the night, and they’re quite real. That cultural lens allows Native Spirit creatures to startle the reader–and come boldly to life–in a way they could not have otherwise. Whether we believe or not–the Western religious frameworld is deeply ingrained in who we are as Americans. Or rather as descendants of Europeans, no matter where you may live. Don’t be surprised then, if you’re reading WINE DARK LAND and first encounter Paleo-Eskimo Spirit creatures through the eyes of Europeans. We want to bring them out of their magical world and allow you to stand face-to-face with them…in your world. Kathy  

Dear All: The good folks at Tor/Forge report that the following titles have been distributed to Kindle, Nook, Sony, Apple and the other major eretailers of books. Many of you have been waiting impatiently, and we apologize for the incredibly long wait while all the parties to the contracts worked things out. (After this we could probably negotiate Middle East peace!) Now availible: THE BETRAYAL THE ATHENA FACTOR SAND IN THE WIND THIS WIDOWED LAND THIN MOON COLD MIST PEOPLE OF THE WEEPING EYE, PEOPLE OF THE THUNDER, PEOPLE OF THE NIGHTLAND and PEOPLE OF THE SILENCE. The Longhouse series: PEOPLE OF THE LONGHOUSE, DAWN COUNTRY, BROKEN LAND. IT SLEEPS IN ME, IT WAKES IN ME, IT DREAMS IN ME. CHILDREN OF THE DAWNLAND We are told that PEOPLE OF THE MIST and PEOPLE OF THE RAVEN will be released on May 11, 2012. Macmillan expects to have another ten titles fully converted and released by the end of the month. And yes, we promised to have COMES A GREEN SKY and FRACTURE EVENT, the books with Maureen Cole, cameos by Dusty Stewart, and introducing Skip Murphy, would be avilable by the end of March. Our agent informs us that negotiations with someone called Argo-Navis for complete distribution are on-going. As an update, we’ve been told but can’t verify that the SPIDER books, RAISING ABEL, and DARK INHERITANCE, as well as the three Forbidden borders books, REQUIEM FOR THE CONQUEROR, RELIC OF EMPIRE, and COUNTERMEASURES have had their conversion errors fixed. Amazon Kindle has told us that anyone who downloaded the error-filled versions can download the fixed versions for no charge. If you have problems, let us know and we’ll do our best to address the situation with Amazon.

The newest “PEOPLE” book is tentatively titled, PEOPLE OF THE MORNING STAR, and will be a political thriller set in Cahokia in the late 1100s. Since we wrote PEOPLE OF THE RIVER twenty-three years ago, a whole world of research has been done on Cahokia. The books resemble reality. PEOPLE OF THE RIVER is like what the archaeologists call “Old Cahokia” the large and prosperous village that was completely covered over to create ‘New Cahokia” the urban center that would be the nucleus for a city at, in the 1100s was even larger than London or Paris. When we wrote RIVER we went way out on a limb and refered to Cahokia as a “state.” The Cahokia we’re writing about in MORNING STAR is imperial, reflecting a city-state that not only drew in tens of thousands of immigrants, but established far-flung colonies, imposed its will, and dominated its enemies. The peasant class was not only compelled to labor for the state, but tendered all of their excess crop production for the state. In so many ways the parallels with Rome are remarkable. Both started as unremarkable villages that grew into empires that changed their continents. Now we’re at the that exciting point, doing the research, compiling lists of characters, setting the stage. Today, dear friends, we will write that first page! Each time we sit at the computer and look down on the screen, there’s a sense of incredible anticipation. And then you type that first word with a sense of inevitableness. With that one word, you’ve just begun a journey leading you…you know not where…