Immersing himself in the Navajo language, Goode, who has penned 17 books, has researched the American Indians in New Mexico, where he also owns a second home. Much of Goode’s research was gleaned from spending time with Navajos in their communities, interviewing them and witnessing ceremonies.

Goode’s fascination also inspired him to write a book about his friend, Navajo artist Sheldon Harvey, and on Friday, Oct. 30, Goode led a discussion at the Milton Historical Society as part of the society’s ongoing speaker series.

A retired writer for the Washington Times’ Insight magazine, Goode began with a broad overview of Navajo culture, focusing on weaving, silversmithing and artwork.

He said central to Navajo culture and lifestyle is belief in a beautiful harmony and order, called “ho-zho.” Navajo artists must attain this peaceful state of mind – an energy that is funneled into their artwork.

Weaving, predominately practiced by women, comes from Spider Woman, a revered deity in the maternal Navajo culture. As the basic fiber in basket weaving, Navajos use mostly three-leaf sumac plants, and after the Spanish brought in Churro sheep, many weavers turned to the wool, said Goode.

Huge outdoors looms often affixed to trees are commonplace in Navajo communities, he said, and Navajo blankets are often woven so tight that they repel water.

Weavers traditionally leave a barely perceptible hole in the rug to remind themselves that Spider Woman – the original weaving teacher – had holes in her web too.

Called spirit releases, the holes allow the weaver’s energy to flow from the blanket. No two blanket patterns are alike, he said.

Silversmithing was introduced to the Navajos in the mid-1880s, and, unlike weaving, it has no religious sanctity, said Goode. Also unlike weaving, silver-smithing is generally done by men.

A Navajo mother-in-law bell, said Goode, announces the arrival of a visiting mother. It’s taboo for mothers-in-law to visit their daughters and sons-in-law without sending a messenger of sorts first, and the bell’s jingle forewarns unsuspecting couples, said Goode.

Today, contemporary silver bracelets made by Navajo artist Michael Roanhorse can easily sell for $16,000 and are found in the collections of wealthy women from Beverly Hills to New York City, said Goode.

Sand painting, also called dry painting, also uses ho-zho, the beautiful order necessary for this art-infused ritual, a highly respected and guarded ceremonial art form. Navajo shamans use the painting to draw spirits to earth where the supernatural and natural forces converge. Pine bowls hold pigments, such as cornmeal and dried flowers, that are smoothed into the ground. Images used in sand painting are often carried on muslin and shared by Navajo shaman. Goode said sand paintings are immediately destroyed after a ceremony because of their power and sacredness.