Chapter 66: Authors’ Note – Fact, Fiction, and Historical Context
Spoiler Notice: This note reveals historical and cultural background used in the novel but contains no plot spoilers for the story’s events.
Summary
The authors separate fact from fabrication in Badlands. The Gallina people were a real pre-European culture in northern New Mexico from about 1100 to 1275, then suddenly vanished. Archaeologists found that nearly all recovered Gallina remains—men, women, and children—show signs of violent death, leading to a genocide hypothesis. The novel speculates that the collapsing Chaco Canyon society may have been the perpetrators, a plausible theory given the regional drought, violence, and cannibalism of the era. No modern Pueblo tribe claims the Gallina as ancestors, and their unique ceramics and artificially flattened skulls suggest they were outsiders. The authors invented the Gallina’s association with witchcraft, though they note that the real practice of burning and burying kivas could signify an effort to extinguish spiritual power. Chaco lighthouses and roads exist, but the seven frontier lighthouses are fictional. Actual badlands and fracking controversies appear, with topographic liberties taken. All cult characters—Oskarbi, Don Benicio, Bromley—are invented. The note concludes with a discussion of respectful terminology, affirming that tribal names are preferred and that “Anasazi” has been retired for “Ancestral Puebloans.”
Key Events
- The real Gallina culture is introduced: lived 1100–1275 AD, vanished abruptly, remains exhibit mass violence.
- Archaeologists hypothesize a campaign of genocide, as every age group was affected.
- The novel’s fictional enemy—the people of Chaco Canyon—is linked to real Chacoan collapse around 1275, driven by drought and social breakdown.
- Evidence of non-Pueblo ancestry is cited: no tribal claims, distinct pottery, and flattened skulls.
- The witchcraft element is admitted as invention, but kiva destruction is offered as possible indirect support.
- Chaco lighthouses and roads are confirmed as real, while the seven frontier lighthouses are fictional.
- Real landscapes (Ah-shi-sle-pah Wash, Gallina Canyon, fracking badlands) are acknowledged, with topographical liberties for storytelling.
- Fictional status of Oskarbi, Don Benicio, Bromley, and the cult is explicitly stated.
- Naming preferences are discussed: many acceptable terms, with tribal names preferred; “Anasazi” replaced by “Ancestral Puebloans.”
Character Development
No character development occurs in this authors’ note. However, it reinforces that Oskarbi, Don Benicio, and Bromley are entirely fictional constructs, not drawn from real individuals or genuine cultural practices. The note develops the reader’s understanding of these characters as imaginative extensions of a genuine—and respectful—historical mystery.
Themes, Symbols, or Motifs
- Fact versus fiction: The note systematically draws a line between archaeological evidence and narrative invention.
- Respect for indigenous cultures: By addressing naming conventions and explicitly stating the respectful approach, the authors foreground ethical storytelling.
- Lost peoples and erased histories: The Gallina’s disappearance and the lack of tribal claims underscore the fragility of cultural memory and the violence of erasure.
- The power of landscape: Real places are acknowledged as the story’s bedrock, yet the liberties signal how setting serves theme and plot.
Why This Chapter Matters
This note is essential because it anchors the novel’s wilder speculations in a real, unsolved mystery. By revealing what is documented—the Gallina genocide hypothesis, the Chacoan collapse, the distinct physical traits—and what is imagined—the witchcraft, the specific cult, the lighthouses—the authors invite readers to appreciate the blend of research and creativity. It also demonstrates a conscientious effort to honor Native perspectives, from the discussion of names to the disclaimer that the fictional cult bears no true relation to any living culture. In doing so, the note transforms the thriller’s backdrop into a springboard for reflection on archaeological ethics, cultural survival, and the stories we tell about vanished peoples.
Study Questions and Answers
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What real historical mystery grounds the plot of Badlands?
The Gallina people, a pre-European culture who vanished around 1275, whose remains indicate widespread violent death—a possible genocide that remains unexplained. -
How do the authors distinguish historical fact from their fictional inventions?
They state that Gallina violence, Chacoan collapse, and unique artifacts are real; the witchcraft practices, the frontier lighthouses, and all cult characters are invented. -
Why do the authors discuss the preferred terms for Native peoples?
To show respect and accuracy; they note that tribal names are the most respected, and that “Ancestral Puebloans” has replaced “Anasazi,” which means “ancient enemy.”