The Valley of Horses

  “I would be pleased to stay with your mother, Jondalar,” Ayla said.

  “Good! Mother also suggested that we wait with most formal introductions until we get settled in. It isn’t as though I need to be introduced, and there’s no point in repeating everything to each one when we can do it all at once.”

  “We’re already planning a welcoming feast for tonight,” Folara said. “And probably another one later, for all the nearby Caves.”

  “I appreciate your mother’s thoughtfulness, Jondalar. It would be easier to meet everyone at once, but you might introduce me to this young woman,” Ayla said.

  Folara smiled.

  “Of course, I was planning to,” Jondalar said. “Ayla, this is my sister, Folara, Blessed of Doni, of the Ninth Cave of the Zelandonii; Daughter of Marthona, former Leader of the Ninth Cave; born to the hearth of Willamar, Traveler and Trade Master; Sister of Joharran, Leader of the Ninth Cave; Sister of Jondalar …”

  “She knows about you, Jondalar, and I’ve already heard her names and ties,” Folara said, impatient with the formalities, then held out both hands toward Ayla. “In the name of Doni, the Great Earth Mother, I welcome you, Ayla of the Mamutoi, Friend of horses and wolves.”

  The crowd of people standing on the sunny stone porch quickly moved back when they saw the woman and the wolf start up the path along with Jondalar and the small group accompanying them. One or two took a step closer while others craned their necks around them. When they reached the stone ledge Ayla got her first view of the living space of the Ninth Cave of the Zelandonii. The sight surprised her.

  Though she knew the word “Cave” in the name of Jondalar’s home did not refer to a place, but to the group of people who lived there, the formation she saw was not a cave, not as she had thought of one. A cave was a dark chamber or series of them within a rock face or cliff or underground with an opening to the outside. The living space of these people was the area beneath a huge overhanging shelf jutting out of the limestone cliff, an abri, that provided protection from rain or snow, but was open to daylight.

  The high cliffs of the region were once the floor beneath the surface of an ancient sea. As the calcareous shells of crustaceans who lived in the sea were discarded, they built up on the floor and eventually became calcium carbonate—limestone. During certain periods of time, for a variety of reasons, some of the deposited shells created thick layers of limestone that were harder than others. When the earth shifted and exposed the sea floor to eventually become cliffs, the weathering processes of wind and water cut into the relatively softer stone more easily, gouging out deep spaces, and leaving ledges of the harder stone between.

  Although the cliffs were also riddled with caves, which was common for limestone, these unusual shelflike formations created shelters of stone that made exceptionally good living sites and had been used as such for a great many thousands of years.

  Jondalar led Ayla toward the older woman she had seen from the foot of the path. The woman was tall and dignified in her bearing as she waited patiently for them. Her hair, more gray than light brown, was pulled back from her face into one long braid, which was coiled at the back of her head. Her clear direct appraising eyes were also gray.

  When they reached her, Jondalar began the formal introduction. “Ayla, this is Marthona, former Leader of the Ninth Cave of the Zelandonii; Daughter of Jemara; born to the hearth of Rabanar; mated to Willamar, Trade Master of the Ninth Cave; Mother of Joharran, Leader of the Ninth Cave; Mother of Folara, Blessed of Doni; Mother of …” He started to say “Thonolan,” hesitated, then quickly filled in, “Jondalar, Returned Traveler.” Then he turned to his mother.

  “Marthona, this is Ayla of the Lion Camp of the Mamutoi, Daughter of the Mammoth Hearth, Chosen by the Spirit of the Cave Lion, Protected by the Spirit of the Cave Bear.”

  Marthona held out her two hands. “In the name of Doni, the Great Earth Mother, I welcome you, Ayla of the Mamutoi.”

  “In the name of Mut, Great Mother of All, I greet you, Marthona of the Ninth Cave of the Zelandonii, and Mother of Jondalar,” Ayla said, as they joined hands.

  Marthona heard Ayla’s words, wondered at her strange speech mannerism, noted how well she spoke in spite of it, and thought it was either a minor speech defect or the accent of a completely unfamiliar language from a very distant place. She smiled. “You have come a long way, Ayla, left all you knew and loved behind. If you had not, I don’t think I would have Jondalar back home. I am grateful to you for that. I hope you will soon feel at home here, and I will do all I can to help you.”

  Ayla knew Jondalar’s mother was sincere. Her directness and honesty were genuine; she was glad to have her son back. Ayla was relieved and touched by Marthona’s welcome. “I have looked forward to meeting you since Jondalar first spoke of you … but I have been a little afraid, too,” she replied with a similar directness and honesty.

  “I don’t blame you. I would have found it very difficult in your place. Come, let me show you where you can put your things. You must be tired and would like to rest before the welcoming celebration tonight,” Marthona said, starting to lead them toward the area under the overhang. Suddenly Wolf started whining, yelped a little “puppy bark,” and stretched his front paws out with his back end and tail up in a playful posture.

  Jondalar was startled. “What is he doing?”

  Ayla looked at Wolf, rather surprised as well. The animal repeated his gestures, and suddenly she smiled. “I think he’s trying to get Marthona’s attention,” she said. “He thinks she didn’t notice him, and I think he wants to be introduced.”

  “And I want to meet him, too,” Marthona said.

  “You don’t fear him!” Ayla said. “And he knows it!”

  “I watched. I didn’t see anything to fear,” she said, extending her hand toward the wolf. He sniffed her hand, licked it, and whined again.

  “I think Wolf wants you to touch him; he does love attention from people he likes,” Ayla said.

  “You do like that, don’t you?” the older woman said as she stroked him. “Wolf? Is that what you called him?”

  “Yes. It’s just the Mamutoi word for ‘wolf.’ It seemed like the right name for him,” Ayla explained.

  “But, I’ve never seen him take to anyone so fast,” Jondalar said, looking at his mother with awe.

  “Nor have I,” Ayla said, watching Marthona with the wolf. “Maybe he’s just happy to meet someone who’s not afraid of him.”

  As they walked into the shade of the overhanging stone, Ayla felt an immediate cooling of temperature. For a heartbeat, she shivered with a chill of fear, and glanced up at the huge shelf of stone jutting out of the cliff wall, wondering if it could collapse. But when her eyes grew accustomed to the dimmer light, she was astonished by more than the physical formation of Jondalar’s home. The space under the rock shelter was huge, much larger than she had imagined.

  She had seen similar overhangs in the cliffs along this river on their way here, some obviously inhabited, though none seemed quite as sizable as this one. Everyone in the entire region knew of the immense rock shelter and the great number of people it housed. The Ninth Cave was the largest of all the communities that called themselves Zelandonii.

  Clustered together at the eastern end of the protected space, along the back wall and freestanding in the middle, were individual structures, many quite large, made partly of stone and partly of wooden frames covered with hides. The hides were decorated with beautifully rendered pictures of animals and various abstract symbols painted in black and many vivid shades of red, yellow, and brown. The structures were arranged in a west-facing curve around an open space near the center of the area covered by the overhanging stone shelf, which was filled with a confusion of objects and people.

  As Ayla looked more closely, what at first had struck her all at once as a mélange of rich clutter was resolving itself into areas dedicated to different tasks, often near to related tasks. It only seemed confusing initially
because so many activities were going on.

  She saw hides being cured in frames, and long shafts of spears, apparently in the process of being straightened, leaning against a crosspiece supported by two posts. Baskets in different stages of completion were stacked in another place, and thongs were drying stretched between pairs of bone posts. Long skeins of cordage hung from pegs pounded into crossbeams above unfinished nets stretched across a frame, and loosely woven netting in bundles on the ground. Skins, some dyed various colors including many shades of red, were cut into pieces and nearby, partially assembled articles of clothing were hanging.

  She recognized most of the crafts, but near the clothing was an activity that was entirely unfamiliar. A frame held many strands of thin cord vertically, with a design partially formed from the material woven horizontally across them. She wanted to go over and look closer, and promised herself she would, later. Pieces of wood, stone, bone, antler, and mammoth ivory were in other places, carved into implements—ladles, spoons, bowls, tongs, weapons—most of them with carved and sometimes painted decorations. There were also small sculptures and carvings that were not implements or tools. They seemed to be made for themselves or some purpose of which she wasn’t aware.

  She saw vegetables and herbs hanging high from large frames with many crosspieces, and lower to the ground, meat drying on racks. Somewhat away from other activities was an area scattered with sharp stone chips; for people like Jondalar she thought, flint-knappers who made tools, knives, and spear points.

  And everywhere she looked, she saw people. The community that lived under the spacious rock shelter was of a size to match the space. Ayla had grown up in a clan of less than thirty people; at the Clan Gathering, which occurred once every seven years, two hundred people came together for a short period, a huge assembly to her then. Though the Mamutoi Summer Meeting drew a much greater number, the Ninth Cave of the Zelandonii, alone, comprised of over two hundred individuals living together at this one place, was larger than the entire Clan Gathering!

  Ayla didn’t know how many people were standing around watching them, but she was reminded of the time she had walked with Brun’s clan into that congregation of clans and felt all of them looking at her. They had tried to be unobtrusive, but the people who were staring as Marthona led Jondalar, Ayla, and a wolf to her living place weren’t even polite about it. They didn’t try to look down or glance away. She wondered if she would ever get used to living with so many people living close by all the time; she wondered if she wanted to.

  An Interview with Jean M. Auel

  Random House: While your novels focus on a civilization of the past, there is a very modern theme that runs throughout, of Ayla struggling to achieve equality with her peers. When you first created this dynamic character, how much thought did you put into giving her modern sensibilities?

  Jean M. Auel: The reason there is a modern sensibility to my characters is that those Cro-Magnon “cavemen” were modern people, the first modern humans in Europe. I researched my characters as much as every other aspect of this early culture. My information is based on the knowledge of today’s scientists, not the antiquarians of the nineteenth century whose views, unfortunately, are still held by too many. I have traveled to many of the locations where those early humans lived and have become acquainted with many professionals who study them, some of whom have shown me remarkable sites, including extraordinary painted and engraved caves.

  Those early modern humans called Cro-Magnon were the first people who not only had skeletons like ours but were like us in many other ways, which can be convincingly demonstrated by the archaeological record. They were our many-times-great-grandparents; whatever qualities we claim for ourselves, we must grant them. They had the same range of intelligence that we do, the same emotional responses and psychological reactions, the same ease and facility with language, the same talents, skills, and abilities. And they had a remarkable creative impulse. I’ve seen it, and it certainly convinced me. Neanderthals are still unknowns, but they were far more advanced than most of us imagine; they were also human with brains larger than the average today. There were differences between us, but they were our close cousins. Once I learned this, I knew I could write the story of a young Cro-Magnon woman raised by a clan of Neanderthals who then finds her way back to her own kind of people. Ayla’s struggle creates tension and conflict, but it is not a modern theme. It is a universal theme. It’s natural, part of the human condition, to want to be accepted. People understand this and always have.

  RH: Your research is praised throughout the world for its accuracy and detail. Can you tell us a bit about your process?

  JA: Most of the information comes from reading and library research, but I have also learned a great deal from asking questions, taking classes, and traveling. For example, I took a class from an expert in arctic survival, where we spent a night on the snowy slopes of a nearby mountain to learn how to live in cold conditions. From a class in aboriginal life skills, I learned how people live off the land, and how to brain-tan a deer hide into wearable buckskin. I’ve taken plant identification classes and classes on how to cook wild foods. Ayla’s medicine-woman skills come from a combination of first-aid books, books on herbal medicines, and asking questions of doctors and other skilled health practitioners like nurses and paramedics. I have visited many of the sites I write about to get a feel for them, even though conditions are most likely different now. I even worked for a short time at an archaeological dig so I could understand where information comes from and how scientists find it.

  RH: How much in your books is based on fact, and how much is fiction? That is, do you fill in the gaps left by history?

  JA: My books are entirely fiction, based on as much factual information as I could find on their subjects. They take place 30,000 years ago, and the only things left from that time are hard objects—things made of stone and bone, such as stone tools, carved items, animal and human skeletal remains—and, as it turns out, microscopic residues. Pollen has been found in Neanderthal graves. Hair from various animals and DNA traces of animal blood from stones and knives add information. Inference fills in a certain amount. For example, if the skeleton of an old Neanderthal man shows that from a young age he had been blind in one eye, had had an arm amputated, and walked with a limp, it is fair to surmise that he was not hunting woolly mammoths, which raises interesting questions: Who amputated his arm? Who stopped the bleeding? Who treated the shock? How did he live to be an old man? Obviously someone took care of him; the question is why? Could it have been because they loved him? Or that his culture took care of their weak and wounded? Perhaps “red in tooth and claw” is not an appropriate way to describe those enigmatic human cousins.

  RH: The Earth’s Children® series is an epic adventure spanning many years. Have you always known where the story is going, or has each book been planned separately?

  JA: When I started, my question was “I wonder if I could write a short story?” Then I got into the research and got all fired up, and I realized I was writing a book. At the time, I was calling it Earth’s Children®, and as it grew, I thought it would be one big saga that fell easily into six parts. I wrote about 450,000 words, and thought I would cut when I rewrote it. But when I started to reread it, I realized that I didn’t know how to write fiction, so I read books about how to write a novel. When I went back and began rewriting the book, instead of editing and cutting down, I found that putting in the dialogue and the scenes to make a story made it grow. It was with some surprise and trepidation that I came to realize that each of the separate parts was a complete story, and that I had a six-book series. I have been working from that original rough draft as an outline for the series, so I have always known, more or less, where the story is going.

  RH: Your own books have a great heroine in Ayla. Who is your favorite literary heroine?

  JA: I don’t really have one. It may once have been the princess in the fairy tale “East of the Sun and West of the Moon,?
?? which my favorite sixth-grade teacher read to the class. Though I didn’t realize it at the time, I think the reason is that in this fairy tale, the man is captured and the princess has to perform feats of skill to save him. That was the trouble with so many of the books I read when I was young. The ones I liked were full of action and adventure, but it was always the men who were acting and adventuring. I never identified with the heroine that was sitting around waiting to be rescued. I was with the hero, snick-snicking with the sword, or whatever. I still identify with the one actively making the story happen, and I enjoy both male and female protagonists. I don’t think it was a conscious decision, but when I started writing, I wanted to write about a woman who did interesting things. I guess that’s why she is a heroine.

  RH: What advice would you give to an aspiring writer?

  JA: You learn to write by writing, and by reading and thinking about how writers have created their characters and invented their stories. If you are not a reader, don’t even think about being a writer. If you want to write, don’t say you want to do it someday, don’t wait until the spirit moves you: Sit down and do it every day, or at least on some kind of regular basis. But I would warn those who aspire to it that writing fiction is the hardest work I have ever done. Sometimes words don’t want to come. For me, the way to get past writer’s block, or whatever those periods are called, is to sit and put down one word after another. I may not even keep that work, though often I do. It doesn’t matter. I need to get something written. Inspiration happens when you are working at it. At other times I can be so completely immersed in the story that I don’t know where the time has gone, but when I get up, I’m drained. I have poured everything I have into the work—and sometimes I find myself finding ways to stall before I sit down to work the next time. But for all the effort, it’s what I want to do for the rest of my life.