The Navajo don’t really like to talk about Skinwalkers – especially with monster-obsessed whiteys who invariably convert rich oral tradition into airport-ready supernatural thrillers (Tony Hillerman’s “Skinwalkers”) and straight-to-DVD horror flicks (James Isaac’s “Skinwalkers”). That means that, assuming the four or five template-based paranormal blogs that feature excitable Skinwalker posts aren’t written by defecting Navajo tribesmen (a fairly safe bet), it’s difficult to separate the authentic Skinwalker lore from the hyperactive Native American fan fic of cable doc-obsessed Fox Mulder wannabes. For every believable, richly folkloric Navajo Skinwalker legend, there are two or three stories about this one time really late at night when a crazy manimal totally attacked someone (I swear, it happened to my cousin’s friend).

According to some (supposed) Navajo legends, during the Long Walk, when the U.S. government forced over 9,000 Navajos to take a 300-mile trudge to newly established reservation land near Fort Sumner, New Mexico, the Skinwalkers were the first to reach the destination. As Navajo women keeled over in the heat, and exhausted men struggled with unconscious children, Skinwalking witches simply transformed into coyotes and crows, which easily sprinted or flew all the way to the reservation. Despite the Skinwalkers’ traditionally evil nature, they are distinctly Navajo and, therefore, proved vital to the preservation of Navajo heritage in the wake of the cultural upheaval brought on by external forces.

Granted, there are plenty of Navajo tales that portray Skinwalkers in a more traditionally antagonistic light. Still, you’d be hard-pressed to find a non-Native Skinwalker story that offered anything but a watered-down cocktail of mystery and terror. They essentially play out like this:

One night a New Mexico state trooper was patrolling the desert around a Navajo reservation. Suddenly, he noticed a strange shape rushing up

alongside his car. The shape resolved into a hideous creature that ran as fast as the officer’s sedan could accelerate. The monster kept pace with the trooper for miles before finally dropping back and disappearing into the darkness. To this day, the officer refuses to patrol that accursed stretch of land.

The same non-native America that repackaged Native American art as kitschy fetish crafts and airbrushed paintings of wolves has turned Skinwalkers, who have a uniquely dynamic relationship with their origin culture, into generic monsters that lurk in the shadows and jump out at passing victims.

And I don’t think that’s a negative a thing.

For decades Native Americans have fought to retain their unique heritage and identities in the face of an ever homogenizing American culture. For most countries – countries with separate and independent geographies – it’s a low stakes game. Germanic tradition, for example, can be assimilated into America’s aggregate culture without losing its physical roots in Germany, or its emotional and intellectual roots in the Germans that still reside there. Native Americans only have America, and most of that was taken from them. The borders they do have – both geographical and cultural – are shrinking. The Navajo don’t really like to talk about Skinwalkers, and so the cable doc-obsessed Fox Mulder wannabes think of the beings as mystical native werewolves – feral and savage, or magic and prescient, or sexy and strong. Cold. Uni-dimensional. Non-dynamic. Inhuman.

The Navajo don’t really like to talk about Skinwalkers, and so the Fox Mulder wannabes are ignorant and xenophobic and maybe even mildly racist. But these things – ignorance, xenophobia, racism – build boundaries between people and cultures. These things strengthen borders.

During the Long Walk, the white men let the Skinwalkers charge on, unmolested, toward Fort Sumner because they saw them as animals. Because they didn’t recognize them for what they truly were – scouts and emissaries; patriarchs and magicians; Navajo. Perhaps today the Native Americans depend on white men to sell cheap headdresses and inauthentic drums and synthetic dream catchers, to make terrible straight-to-DVD horror movies, so all eyes are looking down at cash registers or through camera lenses while, unnoticed, a flock of crows passes by overhead.

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