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David G. Lewis is a specialist in the history of Kalapuyans and other Western Oregon tribes which he has been studying for more than two decades. A member of the Confederated Tribes of Grand Ronde, a descendant of the Santiam, Takelma and Chinook peoples, he has an extensive record of publications and collaborative projects with regional scholars, tribes, local governments, and communities. Lewis has a PhD in anthropology from the University of Oregon and is an Assistant Professor of anthropology and Indigenous studies at Oregon State University. He is a former Cultural Department Manager of the Grande Ronde Tribe.

He currently resides in Chemeketa, now Salem, Oregon, with his wife, Donna, and two sons, Saghaley and Inatye.

Ed Battistella: Congratulations on your book Tribal Histories of the Willamette Valley, which was really eye-opening for me. You documented a lot of history that we often don’t hear about, like the slave trade in Oregon, the passbook system in the late 1800s and the path to US citizenship. What was the research process like—and what was most surprising to you?

David G. Lewis: This took some time. I was initially only studying Grand Ronde tribal histories then some 12 years ago branched out to all western Oregon and so much opened up for me. The histories of all the tribes and reservations are linked in many ways. I found that I could not study only one tribe, because then the history did not include the interrelationships we all have in treaties, US Indian policies, and events of the time.

EB: You describe what you call “an alternative history of Native peoples in the Willamette Valley,” what do you mean by that?

DGL: Well, I think we all are aware that most histories have been and are written without Native people involved in them, few native people are consulted and in early histories our people are completely discounted. So, this represents the other “alternative perspective” those of Native people not seen in most histories. I hope this becomes mainstream as people realize how little of US history has been told. I tried to get to Native perspectives as much as possible as they lost land, people, rights, and struggled through generations of mistreatment. This all stands counter to “normal” US histories that have aggrandized the actions and intents of the settlers.

EB: How have attempts to engage with and present Native history evolved?

DGL: I think changes come when I make new discoveries or gain a new perspective. Two years ago I found a bunch of census counts most scholars had never used or perhaps seen before. These became available when UO and OHS Library put the Palmer papers online. This find opened up the events of 1855 and 1856 and showed me the exact daily movement of the tribes from living in their traditional lands to the reservations at Grand Ronde. From this my ideas changed, and this has begun to change the written history of the tribes. Then about 3 years ago I found 2 new pages belonging to the Willamette Valley Treaty- never mentioned before in scholarship. This brought 5 tribes to the treaty in microfilm records, and this opened the history of treaty-making a lot. Some 15 years ago I found the Grand Ronde Passbook in the Siletz collection at OHS library, and it seems that now whenever I delve into an archive, I find something new that can answer key questions in Tribal history. Just recently the National Archives made their maps and treaty files available for digital download online, I have not fully investigated this, but the maps are in color now, in high definition, and new placenames and details are emerging that can address Native history. As new resources are available, made available through technology and innovation this opens up the possibilities of research quite a bit, makes it easier with less barriers to finding the actual history. I, no longer must travel to archives to find documents, there is now a good record online, and this is dramatically altering the ways history can be researched.

EB: Who is your ideal reader? It seems to me that Tribal Histories of the Willamette Valley would be a great text for courses in Native history and in Oregon history.

DGL: Yes, exactly. I initially wanted this to be a text for high school students, but the book can easily be for college. I also wanted to not have too much academic jargon, a more narrative style with some personal perspectives in it. It is a more accessible text for a wider audience. I have heard from readers that this is appreciated.

EB: I had not heard of the Grande Ronde Guard. What was that?

DGL: Another discovery. For about a month and a half, Joel Palmer hired about 60 men to guard the reservation from white settlers. There were lots of rumors of people in the Willamette Valley who were going to attempt genocide on the tribes, in retribution for the “Indian Wars.” Governor Curry was not a friend to the Tribes and his militias were committing genocides in Southern Oregon and Washington Territory. They were also upset Palmer had placed the tribes near the valley and I think a few settlers feared the tribes would band together and attack the valley, something which never happened. Palmer put good plans in place to hire these guards, build a fence, and protect the Natives. They were disbanded on May after it was clear the threat was not going to manifest. But Palmer did the right thing to protect the people and for this he should be honored.

EB: You document some instances in which there are parallel histories of events, different accounts from different tribes or different groups of settlers. What can we learn from those parallel histories?

DGL: There has been a lot of rewriting and reconfiguring of history by historians, sometimes to fulfill their vision of an “American National History.” This has altered many histories of Native peoples significantly. Sometimes histories have been written with contemporary politics in mind. Because of these different agendas we end up with a lot of parallel histories, which do not match up. I really try to keep politics out of my history, I was not funded by any entity to write this history, this is purely my creation based on what I have found in records. No support for this came from Grand Ronde, the tribe I am enrolled in.

EB: What other scholarly projects are you working on?

DGL: For some years now, I have been working on an edited volume Kalapuyans of Western Oregon with fellow editors Tom Connelly and Henry Zenk. This volume will have essays from a number of scholars, archaeologists, linguists, historians, both tribal and non-tribal. I want to submit the manuscript to OSU press next summer. I have additional histories of the Kalapuyans in this volume which is a bit more academically focused. I also have plans for a reworking of my dissertation to tell the history of termination from the tribal perspective. I have had a hard time finding many of those perspectives but I know where many oral accounts are now.

EB: What was the process of working with Ooligan Press like? They’ve produced a very handsome book.

DGL: It was interesting, every term there were new students to work with, over the course of two years they did an excellent job at all aspects of the manuscript. It works for a non-academic text, if it were more academic, I think a more intense editorial process would be better. But the suggestions they made to have personal experiential essays, to create the cover out of Greg Robinson’s art, and to help recreate maps were all very helpful. Their timeline was helpful too, to keep me on track to complete the book.

EB: Thanks for talking with us.

DGL: Thank you for reaching out, I think this book will make waves in Tribal history and I know the histories of the tribes here will never be the same. I feel in many ways like I am giving back to the community for the tribe supporting my education, and to other tribes who worked with me on projects throughout the years. As a Native person I feel a strong responsibility to work on behalf of the Native community. And I think this book does that.

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Tim Maleeny is author of the award-winning Cape Weathers series of mysteries (Greasing the Piñata, Beating the Babushka, Stealing the Dragon, Boxing the Octopus and now Hanging the Devil) and the standalone thriller Jump.

A New Jersey native, he grew up in a house filled with classic pulp mysteries and began writing crime fiction when he moved to San Francisco, where his proximity to Chinatown inspired many of his early stories. Tim Maleeny’s short fiction appears in several major anthologies and has won the prestigious Macavity Award for best story of the year.

These days he lives in New York, where he writes novels and also works for a global marketing and communication firm.

Ed Battistella: Congratulations on Hanging the Devil. Cape Weathers is one of my favorite characters. How do you come up with such great dialogue?

Tim Maleeny: Thanks, Ed, this has been an incredibly fun series to write, so I’m always thrilled when readers connect with the characters. I think of dialogue as action, no different than a car chase or a gunfight, with each character using their voice to gain an advantage, divert suspicion or bring the temperature down in an overheated situation. I also read constantly and watch several movies a week, often rewatching favorite films to listen for syntax and rhythms of speech, because hearing distinct voices can sharpen your own writing when you want unique characters who don’t sound like anyone else. Once I’ve drawn the characters clearly and know their backstory it’s hard to get their voices out of my head, so the dialogue comes naturally as your characters start to collide.

EB: Some things in this book had me going “Wow, could that be real?” Genetically engineered macaques? State-sponsored art theft? Ninjas with cloaking devices? There are all made up. Or are they?

TM: Believe it or not, all the crimes are based on actual events, with the exception of the helicopter heist at the opening of the book, which is plausible but something I made up. A number of the museum break-ins referenced in the rest of the novel did occur, and some experts in the art community suggested a state-sponsored connection at the time that was never proven or pursued, for obvious political reasons. As for gadgets and tech twists, such as genetically engineered monkeys, a quick online search shows similar experiments were conducted a few years ago, along with some unsanctioned tests involving gene splicing of human DNA, which is both disconcerting and bizarre, so I decided to bring a bit of Mary Shelley to the mystery world, with a touch of Orwell added for good measure.

EB: Your books are very character-driven, and you seem to be able get in the heads of everyone from Russian gangsters or the orphaned Chinese girl, Grace? How do you get in character’s heads?

They say reading fiction increases empathy, so think of writing as an exercise in building empathy one character at a time. If you can’t personally relate to—or channel—your characters, then you need to do more homework until they appear fully three-dimensional on the page.

I spend a lot of time building a backstory for each character, then live with them for a while before I start writing. Characters’ actions are an extension of their personalities, so I usually know how they’ll react to any situation, but if one of them says or does something that feels inauthentic, I catch it during the edit of the first draft. I know I’ve gotten it right when I feel the emotional highs and lows my characters are going through—then I figure I must be inside their heads because they’re tugging at my heart.

EB: Are Russian gangsters hooked on America’s Got Talent?

TM: I am not at liberty to discuss the fandoms of Russian gangsters, but why wouldn’t they be into AGT? It was either that or The Voice, and I figured professional criminals would want more drama in their television shows.

EB: I always enjoy the signature jump cuts you use between chapters. Do you ever get stuck on a jump?

TM: I heard a great piece of advice when I first started writing novels, which was to begin the next chapter as soon as you finish the one you’re working on—do not close the laptop or take a break. In other words, when a chapter is finished, force yourself to write the opening line of the next chapter, so the next day you’re not staring at a blank page. As a result, the jump cuts are a natural way of writing for me, to keep the pages turning, as opposed to a technique added after the fact to link the story together.

The only challenging part of this comes when—during the editing process—I decide to change the order of events and move chapters around. Then I have to take a step back and rework how each scene flows seamlessly into the next, but what mystery writer doesn’t love a good jigsaw puzzle?

EB: Will we be seeing more of ex-Interpol agent Maria Diaz and young Grace in future books?

TM: My three non-committal answers are: I hope so; probably; almost definitely.

Grace is clearly an important character, not only in her own right but also in the context of Sally’s story arc, as Sally tries to protect Grace from the childhood trauma she experienced at the hand of the Triads.

Maria is an intriguing character, whose role expanded as the story developed. Her relationship with Cape walks the line between collaboration and flirtation, and as a fan of The Thin Man and The Thomas Crown Affair, it will be fun to see if they maintain a healthy balance between two very strong personalities. I wouldn’t mind seeing her again, and neither would Cape.

EB: What’s next for Cape and Sally Mei?

TM: The black market for stolen art was an area I hadn’t explored before, and my research for Hanging the Devil uncovered all sorts of connections to other global syndicates involved in criminal mischief. I find the best way to cast a light into dark corners is to make the stories as fast and fun as possible, so readers enjoy the ride but bring something back that will stay with them, maybe even give them a fresh perspective on what’s happening behind the façade of our daily lives. That’s why all the Cape and Sally adventures begin as local crimes but quickly expand to the scope of a global thriller. If you pull on a loose thread hard enough, as they always do, eventually you’ll untangle the rest of the mystery.

EB: Thanks for talking with us. I’m going back to reread Stealing the Dragon.

TM: Thanks, Ed, always great to catch up. Enjoy the underground tour of Chinatown in Stealing the Dragon; glad Cape and Sally have kept you coming back for more!

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Stanley R. “Stan” Luther, grew up in Oklahoma, Kansas, and Idaho during the era of the Dust Bowl and the Great Depression. He joined the US Navy during World War II and later joined the Air Force to become a pilot. During his 28 years in the Air Force, he flew everything from bombers and transport aircraft to fighter jets and reconnaissance planes in Vietnam. In 1969, he was awarded the Bronze Star.

With over 13,000 hours of flight time, Stanley R. Luther knows his way around an airplane. After serving as an attaché to Madagascar, Stan retired to the Pacific Northwest where he worked as a community college professor, flight instructor, and air ambulance pilot. He lives in the Rogue Valley of Southern Oregon where he enjoys a view of the local airport.

Working with Daniel Alrick and Julie Kanta of Plumb Creative, Lt. Colonel Luther has, at 96, penned A Lifetime in the Atmosphere is a memoir that takes readers on an extraordinary journey.

Ed Battistella: Thanks for your service and congratulations on A Lifetime in the Atmosphere. When did you decide to put together a memoir of your life and career?

Stan Luther: Years ago. It was mostly about my career. I wanted to make sure I got the Cuban Missile Crisis in there, it was the driving force. I didn’t have a serious plan, I thought someday I’ll write a book. Once that (the CMC) happened, I figured hey, I gotta tell this story. It had a life of its own.

My late wife Nellie had a lot of interest in family history and saved a lot of photos and papers. I had given speeches and talked to the news media about my time in the service and experience flying, but my own interest in writing a book was approximately 10 years ago, when Nellie was progressing into Alzheimer’s and I had time to start curating those records.

Ed Battistella: This month is the anniversary of the Cuban Missile Crisis, and you were a Lieutenant Colonel and one of the B-47 jet pilots on alert at the time after President Kennedy announced that the Soviets were deploying ballistic missiles in Cuba. Tell us about that experience?

Stan Luther: Well, being on alert in a B47 made it pretty close to the skin when we were called into a room to watch President Kennedy on TV. Nobody spoke. We all looked at the TV and you could hear a pin drop. We just looked at each other afterwards and just silently thought this might be it. For eight years, our mission had been to train for bombing runs with nuclear weapons, preparing for the unthinkable possibility of war with the Soviet Union. I directed a team of five aircraft to the municipal airport in Columbus, Ohio. The urgency of the situation meant that we were airborne before anyone at the Columbus airport was informed of our impending arrival or the reason behind it. Each of our aircraft carried a menacing payload of thermonuclear bombs, each packing 20 megatons of firepower, ominously nicknamed “Big Ugly.” These weapons were nothing short of monstrous, barely fitting into the bomb bay. The increase of nuclear readiness to DEFCON 2 on October 24th raised the tension and anxiety considerably. B-47s remained grounded to conserve fuel while B-52s patrolled the skies around the clock, carrying thousands of nuclear weapons. For about three days, we remained on alert until tensions finally deescalated as the USSR agreed to begin removing its missiles from Cuba on October 27.

Ed Battistella: For a farm kid from Kansas and Idaho, what was the attraction of flying? How did you get interested in aviation?

Stan Luther: I was a farm boy during the Great Depression when conditions were arid during the Dust Bowl and almost impossible for a farmer to make a living. That didn’t make farming seem appealing. More importantly, I did not want to stay at home working for my father. Interest in flight came immediately, just in my blood, as soon as I saw a plane fly overhead in the plains I knew I wanted to get inside one of them. This unyielding passion led me to incessantly pester my father until he relented and took me to the airport. He told a flight instructor that the only way to get me to be quiet about flying was to take me up for a lesson. As soon as we were in the air, it felt right. Amidst the whir of engines, the rushing wind, and the exhilaration of flight, I discovered an affection for aviation that resonated deeply within me.

Ed Battistella: You visited Vietnam in 2015, many years after the war you served in. What was that experience like?

Stan Luther: It was a trip back through time. Revisiting the old bases brought back a lot of memories, and crossing into the North Vietnam I was able to have civil conversations with Vietnam guerrillas who were my enemies during the war. The kinds of guys I was directing F4s to bomb into submission. They were fascinated and wanted to know the details. It tells you something about war. When I was on combat missions, I was focused on the objective, but I would think later and especially over the years about those guys down below my plane and what I would have thought and done if I was in their shoes, so it was a good conversation for me too. What used to be South Vietnam exuded prosperity, vibrancy, and warmth, while, even after all these years, the North maintained a lower standard of living, and the demeanor of its people—especially in Hanoi—appeared more somber. People on the street wanted to discuss the war, asking about my role, the aircraft I flew, our assignments, and whether we had faced enemy fire. It seemed as if they couldn’t get enough of my stories.

Ed Battistella: For several years you were a military attaché in Madagascar. What did that entail?

Stan Luther: My attaché training encompassed a wide array of skills and knowledge, from report compilation to the application of various technologies. I learned to operate effectively in a diplomatic environment, navigating the bureaucratic intricacies of the Department of Defense’s military assistance programs. The job encompassed a wide range of responsibilities, from drafting reports on military and political developments within the country to providing crucial support to the U.S. Ambassador and other embassy staff. We attended numerous diplomatic functions, further strengthening our ties, and played a pivotal role in coordinating U.S. military assistance to Madagascar. Additionally, we had the privilege of piloting our designated C-47 passenger aircraft, affectionately known as the “Gooney Bird,” which allowed us to conduct official business across the country and support the embassy’s transportation requirements. It was a great assignment, and the Malagasy people were wonderful.

Ed Battistella: A question for Julie. I’m tremendously impressed with the quality of the book, the design and the quality of the many photographs. Can you say something about Plumb Creative and the work you do?

Julie Kanta: Thank you! I started out in graphic design in 2006, founding Plumb Creative in 2009 doing branding and websites. But when I was a kid, I would make my own newsletters for family members, so I’ve really always loved both writing and design. When I graduated from SOU in 2014, my capstone was a “Living Legacy” project: combining written memoir with photographs. Eventually that became a beautiful book for my mother. I love combining the written word with visual design, bringing stories to life and preserving people’s memories. I think my experience in branding has really helped me with making projects as beautiful as they can be on top of a good story. My perfectionism helps with the editing process as well, ha ha. So I also have the ability to see the project as a whole, ensuring each piece is going to capture the spirit of the story. I care about quality, both as a final physical product and that my client’s voice has come through. I believe that everyone’s story is worth preserving, and I’m proud to be a part of it.

Ed Battistella: I also have a question for Daniel. What was the experience like of working with Stan? What impressed you most?

Daniel Alrick: I’d like the reader to imagine how much of the book was composed from Stan and I on our hands and knees on his living room floor going over notes and archival material. Some of it was formal sitting side by side at his iMac typing, usually me composing a passage and he giving notes, sometimes the opposite. But usually it was recorded wide ranging meandering conversations that were transcribed and made literary, or Stan’s firsthand notes that were stashed away, or his tape and video recordings, or fresh handwritten yellow pad pages that Stan would write and I’d rewrite and he’d review, and then we would rewrite again. And then in the final edit Julie helped make our tome of inserts more flowing.

What impressed me the most was Stan’s ability to contextualize. He had an idea that the Cuban Missile Crisis section of the book was the most important, and larger than him. And so from that I came up with the idea of structuring the book in flashback with the Cuban Missile Crisis at the beginning, illustrating the stakes his life as a cog in the wheel during nuclear war would rise to. But from that Stan then realized that there was more texture to gain from his lived experience as one of the dwindling members of the “Greatest Generation.” But not in a corny or sentimental way. On the contrary, Stan wanted to convey a generational lesson in all the complexities of that, as someone who is still learning at 96 years old.

What I hope we succeeded at is giving the texture of a life lived, along with Stan’s themes of duty, sacrifice, love, and pursuing one’s dreams. A lot of autobiographies simplify things, or they get bogged down in minutiae. I wanted to realize a collective dream between the three of us of what Stan’s life was like.

Ed Battistella: Thanks for talking with us.