Wednesday 18 December 2019

Read CHAPTER ONE of COYOTE’S PEOPLE by ANDREW McBRIDE

I’m very happy to announce my seventh novel – and seventh western novel – COYOTE’S PEOPLE has been published by prestigious, award-winning publishers Five Star Publishing.
The cover (designed by Kathy Heming) reflects the novel’s setting – southern Arizona.

UPDATE!

COYOTE’S PEOPLE IS NOW ALSO AVAILABLE AS AN E.BOOK!

As of April 2022, COYOTE’S PEOPLE, previously only available as a hardback and in hardback large print, is now also available as an e.book. The kindle version has been published by Andride Press.


The cover photograph is by YUKO U. SMITH. The cover design is by RICHARD HEARN.

COYOTE’S PEOPLE is a sort of companion piece to my acclaimed western novel THE PEACEMAKER. 

However, it is a stand-alone novel and you don’t need to have read any other Andrew McBride books to appreciate and enjoy COYOTE’S PEOPLE.
TAG LINE:

The Apache chief seeking peace in a time of  war... and the 17-year-old white boy caught in the middle.

BLURB:

Arizona Territory, the 1870s. Savage war rages between the white man and the Apache. And three people are caught in the middle: COYOTE, an Apache chief seeking peace, trying to find a refuge for his small band of wanderers; LIEUTENANT AUSTIN HAMILTON, commander of remote Camp Walsh, a man sympathetic to the Indians' plight; and CALVIN TAYLOR (nicknamed CHOCTAW), a 17-year old white boy. Choctaw has been taught to hate Apaches, something reinforced by his own bloody experiences. But his loyalties are torn when he unexpectedly falls in love with an Apache girl. Each finds himself at the center of this bitter conflict, enmeshed in treachery and violence, with their own lives, and the peace they're striving for, threatened by enemies on all sides…’


ISBN number: 978-1432867256 
TO BUY:
You can BUY a hardback of COYOTE’S PEOPLE from Amazon.com, Amazon.co.uk or Barnes & Noble. The sites below may not be showing very much at the moment, but watch these spaces! You can buy from here: https://www.amazon.com/Coyotes-People-Andrew-McBride-ebook/dp/B09XBJJDCB/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=
and here: https://www.amazon.co.uk/Coyotes-People-Andrew-McBride-ebook/dp/B09XBJJDCB/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=

REVIEWS of COYOTE'S PEOPLE:


COYOTE’S PEOPLE has been piling up reviews on Amazon, Barnes and Noble and Goodreads – ALL FIVE STAR! I’m flattered and humbled that my novel has been getting such a positive response. 



Here’s a quick sample:

LUCIA ROBSON: (Winner of the Owen Wister and Spur awards and ‘New York Times’ best-selling author)

‘An outstanding novel!’

ROBERT VAUGHAN: (Winner of the Spur Award and Pulitzer-Prize nominated author)

‘McBride’s wonderful book’

KATHLEEN MORRIS: (winner of the 2020 Peacemaker Award for best first Western novel)

'McBride does a masterful job of... illustrating that justice and truth make uneasy bedfellows with blind hatred, blood lust and revenge...Very well done.'


RICHARD PROSCH: (Winner of the Spur Award) 


'Five stars. Highly recommended!'

WAYNE D. DUNDEE: (Peacemaker Award-winning novelist)

‘Western fiction at its best!’


W. MICHAEL FARMER: (Winner of Will Rogers Medallion Awards, the New Mexico-Arizona Book Award and Best New Mexico Book Award)


'Coyote’s People is a page-turner, entertaining and insightful, filled with the truth only fiction can provide.'

OTHER REVIEWERS:

‘A stunning book… We're clearly in the hands of a master… I would go so far as to say that if Andrew had written this book fifty or sixty years ago in the heyday of western fiction it would be an acknowledged classic. And hopefully, if there's any justice in the world, it will still achieve that status.’

‘A breath-taking, page-turning, wrenchingly heart-breaking tale.’ 

'A superb western adventure'

I’ve created a blog as an ongoing scrapbook of my reviews as they accumulate. You can read THE FULL REVIEWS here: https://andrewmcbrideauthor.blogspot.com/2020/05/reviews-of-coyotes-people.html


To give you a flavour of the novel, CHAPTER ONE follows.

COYOTE’S PEOPLE
Chapter One
Around him men stood with rifles raised. They stared into the darkness at the Apaches that might be there, waiting to attack.
Choctaw swallowed a rock-sized lump of fear in his throat. His arms trembled slightly, and his hands ached, holding his Spencer carbine up to his shoulder. He looked along the barrel past the front sight. Beyond was the gray gloom of the Gila River Canyon.
A few minutes ago, all had been peaceful. The freight outfit was camped just south of the river, wagons coiled into a defensive circle. The crew, thirteen bullwhackers, had finished their evening meal. Pipes were being smoked and dusk was deepening when the stock became nervous, and the teamsters also.
They had reason to be, here in southern Arizona Territory. They were deep in Apacheria, where the White Mountain and the Chiricahua Apache country overlapped. Six Murphy wagons full of goods, the guns, ammunition, and gear of the outfit, the coffee, bacon, and tobacco in the mess wagon, would tempt any sizable war party. Apaches weren't said to be keen on beef, but they would want the mules inside the corral.
The men found cover, behind wagons and elsewhere, and stood to arms, watching the skyline. Above, a full moon hung like a dollar of blue ice cut out of the night, turning the ground before them into a checkerboard of black and silver. One of the teamsters called, “Who's out there?”
Choctaw couldn’t see who the speaker was, but he recognized the voice of the wagon master, John Shadler.
There was a small sound, like a faint musical note, and a blackness showed against the gray and came nearer and stepped into moonlight and became a man walking towards them.
Shadler called, “Hold it.”
The approaching man halted.
The wagon boss asked, “Who are you?”
The newcomer said, “Prospectors.” His English was accented, maybe Mexican. This fit with what Choctaw could see of him in the uncertain light: the shape and wide brim of his hat, and what he was wearing, maybe a serape. Although he was bigger than most Mexicans Choctaw had seen.
Shadler’s voice came again. “How many of you out there?”
“Four.”
“Okay. Come ahead.”
The stranger strode forward and Choctaw saw he was indeed wearing a battered sombrero and serape. And big-roweled spurs making that slight music. This man carried a Henry rifle. Something flashed on his right cheek. A thin scar, like a blue weal, across the bone. There was a rustle of movement, a rattle of hooves, and three more men filed from the darkness, leading four horses and a pack mule.
Around him, Choctaw heard teamsters sigh out their relief. Weapons were lowered.
The four men halted in a group just short of the wagons. They all appeared to be Mexicans. Shadler walked over to them, his rifle hanging in his right hand. He told them, “We can’t do much talking. And we’ve got to keep our voices down. We got a lot of oxen here, and they get spooky at night. Stampede real easy.”
The scar-faced man seemed to be the Mexicans’ spokesman. He said, “I understand.”
“Where you headed?”
“Tucson. Mexico. We been prospecting upriver a ways. Up the Gila Canyon. No luck, so we decide to go back to Mexico.”
“Prospecting, huh? Where's your pack animals? How come you only got one mule?”
“We sold 'em to get horses. Better for to go quick through Indian country.”
“See any Apaches?”
The big Mexican shook his head.
“Any signal smoke?”
“No.”
“All right. Throw your horses in the corral. You can camp over there,” Shadler indicated. “And I’d appreciate it if you keep the noise and talk to a minimum. Like I said—”
Scar-face smiled faintly. “I know. The oxen.”
*****
Choctaw was one of the two youngest members of this outfit, alongside a boy named Finn. Both were seventeen. Their main job was looking after the mules. But this evening they were given an additional task, night herding.
So, whilst the other teamsters slept, Choctaw and Finn patrolled the calf yard and corrals and made sure no thieves made off with the livestock. Then it was daybreak and the outfit rose from their blankets and began their daily routine. They skipped breakfast and got moving, whilst the night herders and night guards slept in the wagons. Round about ten, after covering maybe eight miles, the freighters halted. The stock needed a few hours’ rest if they were going to haul through the afternoon.
The teamsters started on their morning meal. Finn and Choctaw had learned the hard way that if they slept in and missed breakfast, they wouldn’t eat again until dusk. So both were awake as the cookfires were lit.
Choctaw sat under the lead wagon. He hadn't been in Arizona long but had already realized shade was precious out here. You grabbed it whenever you could.
A lesson Finn didn’t seem to have learned. He straddled the tongue of the same wagon, shaping a cigarette.  Which showed he was crazy, in Choctaw’s opinion. It was only midmorning, it was February, and yet the sun was already fierce. And Finn, being so fair-skinned, was peeling badly. He was a lanky, straw-haired boy with a pleasant face you’d have trouble remembering.
Choctaw was luckier, as he was more dark-complexioned. His skin had tanned almost as brown as an Indian's in sun and wind. But his features had nothing Indian about them. As far as he knew, he didn’t have a drop of Indian blood in his veins. But being born at Fort Towson, in the Choctaw Nation in Indian Territory, where his father had been an army contractor and sometime storekeeper, had landed him with his nickname. He was white, his parents were white, his hair was dark brown not black, tousled not straight, and his eyes were as blue as a Swede’s. He was working on his first mustache and trail beard. For all that, he was still “Choctaw” to everyone in this outfit.
His real name was Calvin Taylor but he couldn’t remember the last time anybody had called him that. Sometimes he almost forgot it himself.
He was gangling, as his weight had not kept pace with his latest spurt of growth, taking him to six feet. He was still a virgin, although how he was mystified him. He’d come close to losing that burden a number of times. Some girls and women involved on those occasions had told him he was handsome.
Finn lit his quirley. “I see them Mexicans is still with us.”
“Huh?”
“I figured they’d have ridden off by now.”
“Maybe they’re going to stay with us all the way to Tucson.”
Choctaw felt thirsty. Reluctantly, he got out from under the wagon. He walked a few yards over to a clump of prickly pear and nicked some pads off with his clasp knife. He rubbed the pads against the sand, wiping off the vicious fur of spines. Choctaw wounded the pad with his knife and sucked.
And tasted dust. The flavor of a bullwhacker's life. After a while, food, drink, and cigarettes all tasted of dust.
Still . . . it was better than going home. He’d take dust, thirst, and heat any day, rather than return to his pa. He felt a free man here. Dirty, tired, and frightened sometimes, but free.
That was an illusion, of course. He was no longer a prisoner of his father but of Schmitt and Gottlieb, freighters of Prescott. They shackled him with five dollars and ninety cents a week and two greasy meals a day, and for that he night herded their oxen and took care of Evil Jenny, his mule, and the other just-as-evil mules, and labored to get the wagons across the Ninety Mile Desert and make eighteen miles a day doing it, so that Schmitt and Gottlieb showed a profit.
Finn asked him, “You figure them Mexicans is what they say they is? Prospectors?”
“Why shouldn’t they be?”
“My pa says you can never believe a greaser.”
“What about Luis?”
Luis was the assistant wagon master, and hailed from Sonora. An agreeable, humorous man, though he’d give you hell if you fell down on your job.
Finn filtered smoke down his nostrils. “I don’t mean Luis. I never think of him as a Mex. He’s more like a white man. No, I mean these new fellers.”
“What do you think they are?”
Finn shrugged. “They could be bandidos or something.”
Choctaw shaped his own quirley. “Maybe somebody should drift over to where they are and listen in on ’em.”
“You mean spy on ’em?”
It was Choctaw’s turn to shrug.
Finn gave him an alarmed look. “I wouldn’t do that, Choc. Might be risky.”
“Why?”
“You might end up with a knife in your back. My pa says them spics are terrible knife people.”
Choctaw sneered at the fear in the other boy’s face. “I ain’t scared of no Mexican.”
Choctaw walked off. He didn’t actually know where he was going, although he was heading in the general direction of the Mexicans’ campfire. But he wasn’t really planning to spy on them. That was just big talk . . .
He glimpsed a bosky of mesquite trees on a low hill nearby. His belly was starting to ache for breakfast. Choctaw strode over and plucked some beans off a tree, chewing a few, taking the edge off his hunger. He gazed at the land around him.
A landscape unlike any he’d ever seen, or imagined. Along all horizons were a run of purplish mountains. Strange bare mountains without trees, their edges sharp as knife cuts against a hot blue sky. Below the mountains lay the desert, rusty earth streaked with the green of mesquite, and studded with cactus. That included the ones Mexicans called saguaro, standing like bullet-headed giants, arms raised in surrender.
Choctaw heard voices.
Lower and softer than Anglo voices, and talking in Spanish. Choctaw moved into the grove of mesquites. He stared through the screen of branches and slowly made out, at the base of the slope before him, the Mexicans sitting around their campfire. Or at least three of them. Then one got to his feet and strode about.
This man was something to look at. He wore a large felt sombrero, bell-bottomed leather chaps with buttons all down the sides, and a short, winged, olive jacket. True, his clothing was scuffed and faded, but he was still a charro, one of those Mexican cowboys.
Choctaw heard a small noise behind him, stones rustling underfoot. He turned.
The fourth Mexican stood facing him.
Choctaw recalled Finn saying, about these newcomers, “They could be bandidos.” Easy to think that about this man. He was clean-shaven and very hard looking, with high, powerful cheekbones pushing forward, his nose flattened against his broad cheeks. His face might have been formed out of sun-darkened rock.
Something else Finn had said: “Spics are terrible knife people.” Choctaw remembered that too. Because the Mexican stepped forward and, sure enough, there was a knife in his hand.

Wednesday 6 November 2019

AUTHOR FAVOURITES: THE DEVIL DOESN’T WANT ME by ERIC BEETNER


Eric Beetner has been described as ‘the hardest working man in crime fiction.’ As well as numerous noirish thrillers and award-winning short fiction he’s ventured into western territory with the Lawyer series.

Eric tells me his favourite of his own books is THE DEVIL DOESN’T WANT ME. This is the first in a series of Lars-and-Shaine novels. ‘I think it’s the right blend of an antihero you root for, mayhem and violence, but with a real heart.’

Lars, a professional hit man, has been hunting Mitch the Snitch for 17 years. But then the aging gun for hire switches sides and ends up with Mitch’s teenage daughter Shaine, on the run from New Mexico to California. Angry mobsters and the FBI pursue.

Here’s some information about hit men, or contract killers, which I got via Wikipedia. (I didn’t want to delve any deeper in case I put my life at risk, which seems a high price to pay for writing a blog!)
Contract killing is where one party hires a killer (often called a hit man) or killers to murder a target individual or group of people. It does exist in the real world outside fiction. For example, in the United States, the gang MURDER, INC committed hundreds of murders on behalf of the NATIONAL CRIME SYNDICATE during the 1930s and 1940s.
A study by the Australian Institute of Criminology, looking at 162 attempted or actual contract murders in Australia between 1989 and 2002, indicated that the most common reason for murder-for-hire was insurance policies payouts. The study also found that the average payment for a 'hit' was $15,000 with variation from $5,000 up to $30,000. Contract killings accounted for 2% of murders in Australia during that time period. Contract killings also make up a relatively similar percentage of all killings elsewhere. For example, they made up about 5% of all murders in Scotland from 1993 to 2002.
Notable hit men include:
GLENNON ENGLEMAN, an American dentist who moonlighted as a hit man.
RICHARD KUKLINSKI, an American contract killer who claimed to have murdered over 200 men.
FRANK ‘THE IRISHMAN’ SHEERAN, a union official and mob hit man, who claimed he murdered former Teamsters president JIMMY HOFFA. 

BENJAMIN ‘BUGSY’ SIEGEL, who headed the BUGS and MEYER MOB  and was a hit man for MURDER, INC. Siegel was also the ITALIAN MOB’S main hit man during Prohibition. Ironically, he was himself the victim of a contract killing by unknown assailants in 1947. His murderers were hired by the American Mafia ruling body THE COMMISSION.

ILICH RAMÍREZ SÁNCHEZ, also known as CARLOS THE JACKAL, is more accurately a political assassin and terrorist than a crime-based hit man working solely for money. He’s a committed Marxist-Leninist who joined the POPULAR FRONT FOR THE LIBERATION OF PALESTINE (PFLP) in 1970. He was given the code name 'Carlos' because of his South American roots (he was born in Venezuela.) In a case of life imitating art, Carlos was dubbed ‘The Jackal’ by UK newspaper ‘The Guardian’ after one of its correspondents reportedly spotted FREDERICK FORSYTH’s novel ‘The Day of the Jackal’  (about a contract killer) near some of his belongings.

He is currently serving a life sentence in France for the 1975 murder of an informant for the French government and two French counter-intelligence agents. During his trial in 1997, he said, "We never killed anyone for money, but for a cause—the liberation of Palestine.” In 2017 he claimed responsibility for a total of 80 deaths.
The Brazilian television presenter WALLACE SOUZA was accused of hiring hit men to murder at least five people in 2009 to increase his show’s ratings!

Contract killers have proved endlessly fascinating to novelists and film makers. Ernest Hemingway’s short story ‘The Killers’ inspired two films of the same name:
In 1946, with the hit men played by Charles McGraw and William Conrad.


And in 1964 with  Clu Gulager and Lee Marvin in the same roles.


FREDERICK FORSYTH’s aforementioned novel ‘The Day of the Jackal’ was made into a movie in 1973 with Edward Fox as the paid killer.


Other films about hit men include PULP FICTION (a very over-praised movie in my opinion) with Samuel L. Jackson and John Travolta


and MR AND MRS SMITH with Angelina Jolie and Brad Pitt as a married couple unaware that their partner is a hired killer – and that they've been hired to kill each other!


And ROAD TO PERDITION (2002) with Jude Law as the assassin.


Reviews of THE DEVIL DOESN’T WANT ME:

‘Beetner is a maestro with his action scenes.’

‘Sizzling cinematic prose… crime fiction at its most entertaining… marks the arrival of a bold new talent.’

Has more depth than your typical hitman/mob shoot-em-up.’

‘Laced with dark humour.’

‘A true noir masterpiece.’


Wednesday 30 October 2019

AUTHOR FAVOURITES: RUMRUNNERS by ERIC BEETNER


Eric Beetner has been described as ‘the hardest working man in crime fiction.’ As well as writing numerous noirish thrillers and award-winning short fiction he’s ventured into western territory with the ‘Lawyer’ series.

Eric tells me that RUMRUNNERS ‘is the one most people have responded to of my novels’ and that ‘writing about the McGraws is a lot of fun.’

The McGraws, whilst calling themselves outlaws not criminals, have made a living driving for the Stanleys, the main criminal gang in their part of the Midwest (mostly Iowa and Illinois.)

Unlike his father and grandfather Tucker McGraw wants nothing to do with hauling dubious loads for criminals and is trying to go straight. But when his father, Webb, vanishes after a job, and with him a truck load of drugs, the Stanleys want their drugs back or their money – and they want it from Tucker.

So Tucker - with the help of his grandfather, Calvin - finds himself sucked back into the family business and heading down a highway that just might get him killed.

A Peterbilt truck, such as Webb drives when he vanishes:


Trucks and truckers have featured in many movies.

In the classic French thriller ‘The Wages of Fear’ (1954) Yves Montand and others take a (literally) explosive ride in trucks transporting nitro-glycerine over treacherous roads.

A sticky moment for a truck laden with explosives in The Wages of Fear:


Kris Kristofferson (on left, below) is a trucker in ‘Convoy’ (1978) whose rebellious spirit causes him to end up being pursued by the law.


Lone motorist Dennis Weaver is pursued by a monstrous truck determined to crush him beneath its many wheels in ‘Duel’ (1971.) In this early effort by Steven Spielberg, the truck played the role later taken up by the predatory shark by ‘Jaws’ – but for me ‘Duel’ is the better, grittier and more suspenseful movie.

Dennis Weaver looks back...


And he’s still being pursued.


Back in the classic film noir era, truckers involved in crime featured in such movies as ‘Thieves Highway’ (1949) with Richard Conte


and ‘They drive by Night’ (1940) with (below from left) Humphrey Bogart and George Raft.


In ‘I Walk Alone’ (1947) Kirk Douglas and Burt Lancaster (below, left to right) start out as bootleggers transporting their illegal cargoes by truck.


The vast highways and vast landscapes of the U. S. A. (particularly the west) lend themselves very naturally to trucker movies. The UK couldn’t match that scale and had to make do with movies like ‘Hell Drivers,’ a relatively obscure 1957 thriller starring Stanley Baker.


The illustrious (or soon-to-be-illustrious) cast of ‘Hell Drivers'

It’s most notable for its supporting cast, including character actors like Herbert Lom, William Hartnell, (the first Dr. Who) Jill Ireland, Gordon Jackson, Sid James and Alfie Bass. But it also features some up-and-coming young actors who went on to be major stars on film and TV in the 60s: Patrick McGoohan, David McCallum and – in one of the smallest parts – the actor who went on to be the biggest star of the lot: Sean Connery.


From left: Stanley Baker, Sid James, Patrick McGoohan and Sean Connery

REVIEWS of RUMRUMMERS:

‘I stayed up half one night reading Rumrunners… Terrific. Dark magic.’

‘Few contemporary writers do justice to the noir tradition the way Eric Beetner does… Beetner just takes the form and cuts his own jagged, raw and utterly readable path.’

‘Fast and funny and dark all at once.’

‘Fun plot + believable characters + witty dialogue + breakneck pace = novel that knocks your socks off.’

‘Pretty much the spiritual heir to Elmore Leonard.’



Wednesday 2 October 2019

AUTHOR FAVOURITES: THE MOSES DECEPTION by STEPHEN MERTZ


Stephen Mertz writes thrillers (sometimes with a political tinge) as well as westerns. He tells me THE MOSES DECEPTION is ‘State of the Art Mertz,’ not a bad place to begin investigating his work.

Archaeologists Adam Chase and Lara Newton, excavating in the mountains between Turkey and Syria, discover an 11th Commandment to add to the 10 Moses brought down from Mount Sinai. And then they're caught up in the bloody civil war gripping the region.

All of which made me think of Indiana Jones, of course, and CHARLTON HESTON (below) as Moses in the 1956 film ‘The 10 Commandments.’



I thought for this blog I’d have a brief look at Indiana Jones (with the help of Wikipedia.) Here Charlton Heston features again, in a different guise.

Dr. Henry Walton "IndianaJones, Jr., 1930s archaeologist and adventurer, is a character created by GEORGE LUCAS.  He was portrayed by HARRISON FORD in four movies directed by STEVEN SPIELBERG – ‘Raiders of the Lost Ark’ (1981) ‘Indiana Jones and the Temple of Doom,’ (1984) ‘Indiana Jones and the Last Crusade,’ (1989)  and ‘Indiana Jones and the Kingdom of the Crystal Cave’ (2008.) A fifth film is scheduled to be released in mid-2021.
The young Jones has been portrayed by RIVER PHOENIX (in The Last Crusade) and in the TV series The Young Indiana Jones Chronicles’ by COREY CARRIER, SEAN PATRICK FLANERY and GEORGE HALL.
Although Ford was Spielberg’s initial choice for the role, Lucas and Spielberg auditioned many actors, and finally cast TOM SELLECK. However, CBS refused to release Selleck from his contract to his hit TV show ‘Magnum P.1.’ Subsequently PETER COYOTE and TIM MATHESON auditioned. In the end it went back to Spielberg’s original choice and Ford got the part less than three weeks before filming began.


Indiana Jones has become one of cinema's most famous characters. In 2003, the American Film Institute ranked him the second greatest film hero of all time, second only to Atticus Finch, as portrayed by GREGORY PECK in ‘To Kill a Mockingbird’ (1962.)
The character was originally named Indiana Smith. Spielberg disliked the name Smith, so Lucas casually suggested Jones as an alternative. In ‘The Last Crusade’ script Jones's father reveals his son's birth name was Henry, and that he somehow acquired the nickname Indiana after a dog they had.  
The character is modelled on the action heroes of 1930s film serials and pulp magazines both Lucas and Spielberg enjoyed in their childhoods. Spielberg was interested in doing a fun adventure similar to ‘Dr. No,’ SEAN CONNERY’s first outing as James Bond. So it was something of an in-joke when Connery appeared as Indiana’s father in The Last Crusade.’


HARRISON FORD and SEAN CONNERY in 'Indiana Jones and the Last Crusade’

Here Charlton Heston re-appears. ‘Raiders’ costume designer Deborah Nadoolman Landis said the inspiration for Indiana's costume was the outfit worn by the character Harry Steele, played by Charlton Heston in the 1954 adventure movie ‘Secret of the Incas.’ Throughout the film Steele looks very much like Jones, wearing a brown leather jacket, fedora, tan pants, and carrying an over-the-shoulder bag and revolver. He’s also a cynical American ex-patriot with a sarcastic sense of humour in a far, exotic place.


Landis said, ‘We did watch this film together as a crew several times, and I always thought it strange that the filmmakers did not credit it later as the inspiration for the series.’ She added Raiders was ‘almost a shot for shot’ remake of the Heston film, stating that Indiana Jones was ‘a kinder, gentler Harry Steele.’


Other fictional inspirations for the Jones character were Sir H. Rider Haggard’s safari guide/big game hunter Allan Quatermain in the novel ‘King Solomon’s Mines’ and Professor Challenger in Sir Arthur Conan Doyle’s novel ‘The Lost World.’
Real life archaeologists and adventurers that helped inspire the character might include:
American scholar and archaeologist VENDYL JONES (below) who led digs in Israel from the 1960s to the 1990s searching for the Holy Ark. (Not too great a leap from ‘Vendy’ to ‘Indy’ Jones!)


Yale University professor, historian, US senator, and explorer HIRAM BINGHAM the 3rd, who rediscovered – in 1911 - the lost Inca city of Machu Picchu.
FREDERICK RUSSELL BURNHAM, the celebrated American scout and British Army spy who heavily influenced Haggard's fictional Allan Quatermain character and also became the inspiration for the Boy Scouts.
British archaeologist PERCY FAWCETT (below) who disappeared in the Amazon jungle in 1925, after spending many years exploring the region.

American archaeologist and adventurer WENDELL PHILLIPS who led well-publicized expeditions in Africa and the Arabian Peninsula in the 1940s and 1950s.
Although Indiana Jones made archaeology ‘cool’ the archaeological fraternity gave a mixed response.   
Archaeologist Anne Pyburn described the influence of Indiana Jones as elitist and sexist. She argued the film series had caused new discoveries in the field of archaeology to become oversimplified and over-hyped in an attempt to gain public interest, negatively impacting archaeology as a whole. Eric Powell, an editor with the magazine Archaeology, disagreed, saying ‘O.K., fine, the movie romanticizes what we do’, and that ‘Indy may be a horrible archaeologist, but he's a great diplomat for archaeology. I think we'll see a spike in kids who want to become archaeologists.’
REVIEWS for THE MOSES DECEPTION:


'A real page turner.'




‘Hooked me in right from page one. A riveting, mysterious plot line.’