In The Pale-Faced Lie, David Crow presents a riveting account of growing up on the Navajo Indian Reservation with a mentally ill mother and violent father, an ex-con from San Quentin who groomed David to be his partner in crime.
DAVID CROW spent his early years on the Navajo Indian Reservation in Arizona and New Mexico. Through grit, resilience, and a thirst for learning, he managed to escape his abusive childhood, graduate from college, and build a successful lobbying firm in Washington, DC.
Today, David is a sought-after speaker, giving talks to various businesses and trade organizations around the world. Throughout the years, he has mentored over 200 college interns, performed pro bono service for the charitable organization Save the Children, and participated in the Big Brothers Big Sisters program. An advocate for women, he is donating a percentage of his royalties from The Pale-Faced Lie to the Barrett House, a homeless shelter for women in Albuquerque. David and his wife, Patty, live in the suburbs of DC.
Do you write in more than one genre? I have only written non-fiction so characters are real people, and the book captures what they actually did. I hope to write fiction in the future.
What brought you to writing? I always wanted to write but knew the process is completely different from ordinary business writing, which I had always done before. I studied creative writing but must confess that my publisher was my greatest teacher. Sandra Jonas took a very rough manuscript and helped me create a readable book that has been quite successful. The creative writing process, in my opinion, requires a great deal of study and practice. There has been nothing easy or quick about it. On the contrary, it may be the hardest thing I have ever attempted.
Tell us about your writing process: I write every day, but it can be painful. I struggle to get into a rhythm and to move the process forward. It took nearly ten years to write the book. The last two working with Sandra were very challenging because I still had a significant learning curve.
Has an association membership helped you or your writing? I belong to several writers groups, including the Western Writers of America. I have attended the Writer’s Digest Annual meeting in NYC and several others. Every one of them has helped me better understand what it takes to be a successful writer.
Who’s your favorite author? I have several favorite authors and new ones all the time. I am finishing Kristin Hannah’s, The Four Winds, a novel about the Dust Bowl—it is excellent. I loved Larry McMurtry, Cormac McCarthy, Erik Larson, Jeff Guinn, Chris Enss, and countless others. I am an avid reader.
How do our readers find you and your work?
Mescalero / Chiricahua Apache and Diné Navajo from New Mexico.
Crisosto Apache is an alumnus from Insitute of American Indian Arts (AFA 1992 / MFA 2015) and Metropolitan State University of Denver (BA, 2013) for English and Creative Writing. His work also includes Native LGBTQI / ‘two spirit’ advocacy & public awareness.
“Entirely new, experimental, and worth the effort of reading. Passionate in places, contemplative in others, he travels from that ancient past toward the distant universe.”—Linda Hogan
“These poems record not only the nine months of history occurring while the poet formed in gestation… it attempts to make sense of the whirling world of chromosomes, of snow across body-laden battlefields, the whirl of strobe lights in a sex club, and the spiral which meets in the center where isdzán and haastiń (woman and man) become indistinguishable. Apache’s collection challenges our footing on things we thought we knew.”—James Thomas Stevens
Do you write in more than one genre? Though most of my writing falls under the poetry genre, more specifically the Native American Literary genre, I am trying to develop my narrative elements by writing a memoir. The emphasis for the memoir is my experience growing up on my Mescalero Apache reservation in New Mexico as a gay male, as well as my experience off the reservation in urban areas as a marginalized Native American.
What brought you to writing? I originally started my education wanting to be an artist, a painter. During my adolescent years, I did a lot of illustration in my spare time and read a lot of poetry-the classics. I was mostly drawn to the fantasy style of artwork. My illustration got me a scholarship to the Institute of American Indian Arts in Santa Fe, New Mexico, in the fall of 1989. I studied two-dimensional design my first two semesters when I was approached by Arthur Sze, the head of the Creative Writing department at the time. He convinced me to change my major, and that was my introduction to writing. I can say I have always acknowledged myself as a lifetime student of Arthur Sze because of the influence taught through his courses and the materials offered. My second manuscript, titled “Ghostword,” is highly influenced by a modern Japanese writer introduced to me by Arthur. The writer is Ryūnosuke Akutagawa, and the book “A Fool’s Life” (Eridanos Press). I have carried carbon copy excerpts from the book distributed in his class until I finally found the book in a reprinted collection of Akutagawa’s work. Until I located a copy, “A Fool’s Life” had been out of print. So, my second manuscript is a kind of conversation or life response.
Tell us about your writing process: My writing process varies from time to time. First, I must say it is important for me to distinguish myself as an artist first before identifying myself as a writer. My identity as an artist is what fuels my creative aspiration for writing. Most of my creative bursts come during the night. I am sometimes awakened by jolting moments to write. When this occurs, I do get up and go directly to my computer and begin typing. It is during these moments many of the fundamental ideas come through for my poetry. The writing is almost automatic, and it feels closer to being on “automatic pilot.” Many of the poems in my book GENESIS have come from these waking moments. Some of the approaches for my writing focus on the juxtaposition of my indigenous language and the English language. Through translation, I found this technique interesting how the language interacts as meaning and description. It is fascinating to me to examine the interaction of language and the mapped direction the language interaction takes me, which resembles the action of “unfolding” or “uncovering.” I always look forward to reading other writers’ work because I draw influence and encouragement from what is written. I often think and wonder if the “jolting wake” in the night comes from the influence of reading, where my mind finally assembles ideas for my writing.
What is the most challenging part of your writing process? The most challenging part of my writing process is finding time to focus on the writing and revision process. Because my time is mostly dedicated to my teaching job as an English professor (and all the facets of faculty responsibilities) and my volunteer position as the Associate Editor of Poetry for The Offing online magazine, it can sometimes be challenging to find dedicated time to focus on my writing. I have a small office in my house where I have a small library and a computer. I sometimes have closed the door and try to focus on my writing. I keep the door closed when I am not in my office so I can separate the concept of the room as not part of the house. When I am in my office, I am usually in the headspace of work. It is especially important now in these current times of the pandemic. I do take my time seriously when I am in my office and focusing on my creative written work.
Do you have any advice for new writers? About writing, my only encouragement is to just write. The act of writing is the most important part of the writing process, even though it may be bad writing. I save all my scribblings and voice recorded entries to various folders on my computer. I learned to carry with me a voice recorder to voice my ideas. I used to carry a small notebook but often misplaced them. My voice recorder fits into my pocket and works simply fine. It is important to find or reserve time to focus on writing. It is simply not enough to assemble and collect ideas. Much of the writing process is composing ideas into the structure and revising. Working on a manuscript also takes a lot of time and care. Deciding how much material should go into a working manuscript and to what order also is part of the process that deserves much consideration. If you are a beginning writer and have made it to the point of assembling a manuscript, then you deserve recognition and congratulations. It is a huge accomplishment to assemble a manuscript. Publishing your work is also important. Finding places to publish your writing can be challenging. Rejection is part of the writing process. Do not criticize yourself for rejection. Sometimes it is all about timing. Most of my publishing opportunities come from my network of friends who write. Establish a network. To summarize, make time to read, submit & publish, and most importantly, keep writing.
How do our readers contact you? Your website, blog links, any links you want posted?
GENESIS book order Link: http://amzn.to/2FzG409
My website: http://crisostoapache.com/books-2/
Lost Alphabet’s website: http://www.lostalphabet.com/genesis/
Mark Langley – Talks About his Approach to Writing
My latest book, Death Waits in the Dark, is the second in a series concerning Arthur Nakai, a former Marine, ex-Shadow Wolf for the CBP. He has left that life and runs his own outfitting business in Northwest New Mexico. His wife, Sharon, a local KZRV news reporter and sometimes anchor, is still struggling with the loss of their first child, and the two of them are trying to move forward in their marriage. This is stressed in my first book, Path of the Dead, and begins to reshape them in Death Waits in the Dark.
I have always wanted to tell stories. After a terrifying car crash in my thirties, I sat in the hospital wondering what if I hadn’t made it? What if I was alive only with the help of machinery? What had I done with my life? From that moment on, I decided to live and go where I always wanted to go: the American Southwest. My parents took me there on a vacation when I was twelve, and the land had been a part of my soul ever since. I had to go back. I had to go back to what I felt was my home. Upon doing so, the urge to write of characters that inhabited that land grew evermore present inside me. I took a two-week trip and dictated everything I saw, felt, smelled, and heard into an old Panasonic tape recorder. That trip became Path of the Dead.
I’ve been told I do things a little backward. I normally think of a title and then create a story around it. Then I sit down and create characters along with backstories and begin to work out the plotline. I may go through several drafts, but I sit down at my laptop and let the Characters take over when I have all I need.
The third book in my Arthur Nakai series, When Silence Screams, is about a missing nineteen-year-old from Santa Fe. When Arthur is visited by the girl’s mother and her brother, she has been missing for six months. The family believes she has been sold into sex-trafficking. While Arthur is searching for her, he learns of a fifteen-year-old girl that has vanished, leaving only her bicycle behind. Then a young woman in her early twenties is fished out of a lake on the Navajo reservation with a ghastly revelation. Are the three connected? Arthur will have to find out.
After reading about the Missing and Murdered Indigenous Women and Girls on the reservations in both the US and Canada, I created this story. Like Shirley, Becenti tells Arthur, “When a white girl goes missing from a golf course, the world hears about it. Let it be an Indian, and no one cares.” When I read that in 2016 alone, 5,712 girls and women went missing, I had to tell a story that would make people aware and think. I don’t tell the reader how to think but encourage them to form their own opinions.
Currently, I am reading Craig Johnson’s Longmire series as well as Anne Hillerman’s continuations of her father’s works. I confess I don’t get a lot of time to read, but I have read my author idols: Robert B. Parker, Mickey Spillane, and Ernest Hemingway, along with Ian Fleming and John D. MacDonald (whom I share a birthday with).
Path of the Dead took me about 20 years to write. I have a favorite saying John Lennon said years ago: “Life is What Happens To You While You’re Busy Making Other Plans.” I began Path of the Dead under the title Navajo Wind, then met the woman who became my wife, worked hard, took her adolescent daughter as my own, and life took over. Other things became more important. For the next 20 years, it was an on-again-off-again romance with writing. Then, at the end of 2016, after retiring, I decided to take my one chance at making my dream come true. And thank God, it did. A few months later, I had an agent and a two-book deal with Blackstone Publishing.
Character names seem to fall into place as I develop the persona of each character. If the name flows, I use it. If it doesn’t, I keep searching. The names have to feel real, not contrived, for me to create a character around them.
As most writers can attest to, you can think all you want about how they would react. Still, whether they are having a conversation, involved in some action, they tend to have a mind and will of their own and do things you hadn’t thought of. Their own “humanity” comes to the surface.
I don’t believe that a man can’t write from a woman’s perspective or vice versa. A lot of Sharon’s actions and words are my wife’s. I think that adds to the reality of their marriage. And my readers have told me they love the characters because they are believable. In Death Waits, I deal with PTSD and Arthur’s military past. Having never had that experience, I turned to my friends that had joined after high school and had been in Afghanistan. I sat and listened and learned a great deal. Then I did a lot of research, and that made me able for Arthur to convey that bond of brotherhood and talk of his past truthfully.
I love having subplots. In Path of the Dead and Death Waits in the Dark, I use them. I find that even if they are little things that actually have happened in the area Arthur calls home, not only will the readers that live in that area remember them, but other readers will see the subplot as an interesting little detour.
Arthur’s looks are based on a Native actor. Sharon is based on a TV reporter I got to know. Jake Bilagody resembles my grandfather in stature. In When Silence Screams, a few characters are based on friends I had in high school and my first job.
I always outline. I find it is much better to have a road map than to wing it. I outline the story as a whole, then each chapter. That always seems to change, however, when the characters take over the narrative.
I compile folders, if not binders, of research concerning what the story will be involving. That is both the hardest part and the most enticing part of being a writer—learning about things of which you had no idea.
I tell my readers that 98% of the locations are real. I have been there, driven the hard-packed roads, and tried to bring those places to life. Then, the other 2% are fictional because there is so much more leeway to accomplish what a writer needs to.
When Silence Screams will be out next August, but right now, I am researching book four, “GLASS.” It concerns the terrible grip crystal meth has on the reservations. In this age of Covid, I cannot visit the area as I have in the past. I rely on doctors near me and the internet to explore this scourge. Glass will be set for release in 2022.
The best advice I have for other writers is to never give up. Perseverance is the key. Never give up on your dream and goal, and NEVER give up on yourself. If you do, then you have lost. No matter how many naysayers there are, they do not understand your dream or goal. That cannot even imagine it. Only you do. Live your truth.
Here is my contact information:
McCarthy, Cormac. Blood Meridian, Or, The Evening Redness in the West. 2010 Modern Library Edition ed. New York, NY: Modern Library, 2010. Print.
Many consider Cormac McCarthy’s Blood Meridian too violent to read. Violence begins on the second page and continues unabated to the end. McCarthy delivers a treatise on man’s inhumanity to man in the form of genocide. Blood is a constant theme as blood is spilled in one senseless massacre after another. Blood is not the result of conflict, but the reason for it.
McCarthy weaves what could be a series of short stories describing the worth or lack of indigenous people’s lives in the latter half of the nineteenth century west. The story, seen through the eyes of the narrator, follows the Kid and a gang of killers. McCarthy’s narrator never allows the reader inside the mind of the characters. We learn only what McCarthy wants as he develops his characters. He forces the reader to imagine one’s vision of the murderous thoughts. He is masterful in constructing his performers while forcing his readers to judge them.
McCarthy uses understated allegory to deliver messages that express what the characters are or what they represent. Spitting is used throughout as a symbol of the low regard the men have for anything, including human life. The insult of the act says more than dialogue could deliver. Wolves are symbolic actors. Almost daily, we see wolves. The humans and the wolves are representative of hunters looking for easy prey. The only difference, wolves kill for survival.
Glanton and his gang are inherently immoral, evil, clichés of bad guys in black hats. The governments of Mexico and the United States, equally evil, legitimatize genocide. This allowed for the ferocious and persistent murder and attempted extermination of the native peoples of both countries.
Genocide is the predominant theme. Except for the Delaware’s, the Indians are shown as savages. This holds even when the Diegueño Indians rescue the Kid and the ex-priest. “They would have died if the indians had not found them” (312). The narrator refers to these people as savages, as aborigines. “they saw the halfnaked savages crouched…” (312).
Two central characters, Glanton and the Judge, build upon the theme of genocide. Glanton, when he kills an old Indian woman sitting in the square of an impoverished Mexican village. When he sees three of his men squatting with her, he dismounts and kills her. “The woman looked up. Neither courage nor heartsink in those old eyes. He . . . put the pistol to her head and fired” (102). On the very next page, he confirms his complete contempt for life when he tells the only Mexican in his band to scalp the woman’s corpse with these chilling words, “Get that receipt for us” (103). She is nothing more than a hundred-dollar bounty.
The reader becomes almost inured to the violence. Once the butchery began, it seems as though there can be nothing more disturbing—there is—the Judge is evil incarnate. The gang surprises and attacks a large Indian encampment, “the partisans [Glanton’s men] nineteen in number bearing down upon the encampment where there lay sleeping upward of a thousand souls” (161). The Judge leaves the devastated village with a captured child, a ten-year-old boy. He treats the child humanely, and the boy becomes somewhat of a mascot. Three days later, the depth of the Judge’s evil is shown. “Toadvine saw him with the child as he passed with his saddle, but when he came back ten minutes later leading his horse the child was dead and the judge had scalped it” (170). The reader is left to wonder if the Judge killed the boy because he thrives on murder, or if he defiled the child and killed him afterward.
McCarthy’s colorful and graphic language adds significantly to the ability of the reader to see, understand, and experience the scenes and settings. Short and straightforward, his portrayal of the gang as they cross the desert, conveys in a few easy to read lines, in which the reader can feel, and smell the riders. “They rode on, and the wind drove the fine gray dust before them and they rode an army of graybeards, gray men, gray horses” (259).
The Kid, born into a violent world, dies a violent death forty-five years later. Some assume that the Judge, a pedophile, and sexual deviant, rapes the Kid and leaves him for dead. We’ll never know the answer.
McCarthy’s final message to the reader, evil cannot be eradicated; it lives forever.
The day was filled with changes in scenery, weather, and states. It began warm with dry rugged high mountain forest and ended the same. In between I experienced high mountain plateaus, high plains desert, just plain desert, rocky canyons, cool temperatures, warm temperatures, HIGH temperatures, clear bright skies, overcast skies, some drizzle, and a cloud burst.
After a hearty Grand Slam at Denny’s it’s off to Four Corners via Mesa Verde National Park. It was 30 miles to the park entrance. The ride began like most on this adventure, gorgeous. There was soon a stumbling block. There are two seasons in this part of the country, winter and Road Repair. We were in the midst of road repair.
10 miles down the road construction required several miles of one way traffic. Ordinarily this wouldn’t cause more than a 10 minute delay. Not today, once all the cars and trucks came through we continued to sit. After ten minutes, I got bored and walked across the street and watched a second string of vehicles come our way. What is going on? More time passes. We learn the cause of the delay when a couple pedal bicycles towards us. At first angry, I realized that bicyclists have to get through the construction zone.
My visit to Mesa Verde National Park deserves a separate blog. Look for it tomorrow.
From Mesa Verde it was ninety miles to Four Corners, where Arizona, Colorado, New Mexico, and Utah all touch. The wind was dreadful. At Four Corners another biker told me; “They call this Four Corners, because the wind is coming at you from all four directions.”
The monument is located on the Navajo Nation. They charge $3 per person to visit. Around the monument were no less than 50 Navajo vendors.
Two bikers parked next to me, one wearing a HOG Patch from Brunei. HOG is for Harley Owners Group. He is the HOG Chapter President for Brunei, an oil rich country on the island of Borneo. He and his buddy rented Harley’s in San Francisco to ride to New York.
Leaving Four Corners I head into Arizona on US 160 to US 191. It wasn’t long before the clouds began getting ugly and I got a few sprinkles. With lightening off to my left and right, I stopped and suited up. The rain stopped. 50 miles further along, I got out of the rain gear. Instead of packing it away, I tied it behind my seat. Just in Case. Until I got to Monticello, Utah there were rain chimneys visible all about, but I seemed to turn just in time to miss them.