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1999 National Book Award nominee for Young People's Literature.
When they were close enough to touch bottom with their paddles, the people poured out of the nearly swamped canoes. The grown-ups held little ones and the little ones held even smaller ones. There were so many people jammed into each boat that it was a wonder they had made it across. The grown-ups, the ones who wore clothes, bunched around the young. A murmur of pity started among the people who had gathered on shore when they heard Omakayas's shout, for the children had no clothing at all, they were naked. In a bony, hungry, anxious group, the people from the boats waded ashore. They looked at the ground, fearfully and in shame. They were like skinny herons with long poles for legs and clothes like drooping feathers. Only their leader, a tall old man wearing a turban of worn cloth, walked with a proud step and held his head up as a leader should. He stood calmly, waiting for his people to assemble. When everyone was ashore and a crowd was gathered expectantly, he raised his thin hand and commanded silence with his eyes.
Everyone's attention was directed to him as he spoke.
"Brothers and sisters, we are glad to see you! Daga, please open your hearts to us! We have come from far away."
He hardly needed to urge kindness. Immediately, families greeted cousins, old friends, lost relatives, those they hadn't seen in years. Fishtail, a close friend of Omakayas's father, clasped the old chief in his arms. The dignified chief's name was Miskobines, Red Thunder, and he was Fishtail's uncle. Blankets were soon draping bare shoulders, and the pitiful naked children were covered, too, with all of the extra clothing that the people could find. Food was thrust into the hungry people's hands-strips of dried fish and bannock bread, maple sugar and fresh boiled meat. The raggedy visitors tried to contain their hunger, but most fell upon the food and ate wolfishly. One by one, family by family, the poor ones were taken to people's homes. In no time, the jeemaanan were pulled far up on the beach and the men were examining the frayed seams and fragile, torn stitching of spruce that held the birchbark to the cedar frames. Omakayas saw her grandmother, her sister, and her mother, each leading a child. Her mother's eyes were wide-set and staring with anger, and she muttered explosive words underneath her breath. That was only her way of showing how deeply she was affected; still, Omakayas steered clear. Her brother, Pinch, was followed by a tall skinny boy hastily wrapped in a blanket. He was the son of the leader, Miskobines, and he was clearly struggling to look dignified. The boy looked back in exhaustion, as if wishing for a place to sit and rest. But seeing Omakayas, he flushed angrily and mustered strength to stagger on ahead. Omakayas turned her attention to a woman who trailed them all. One child clutched her ragged skirt. She carried another terribly thin child on a hip. In the other arm she clutched a baby. The tiny bundle in her arms made no movement and seemed limp, too weak to cry.
The memory of her poor baby brother, Neewo, shortened Omakayas's breath. She jumped after the two, leaving the intrigue of the story of their arrival for later, as well as the angry boy's troubling gaze. Eagerly, she approached the woman and asked if she could carry the baby.
The woman handed over the little bundle with a tired sigh. She was so poor that she did not have a cradle board for the baby, or a warm skin bag lined with rabbit fur and moss, or even a trade blanket or piece of cloth from the trader's store. For a covering, she had only a tiny piece of deerskin wrapped into a rough bag. Even Omakayas's dolls had better clothing and better care. Omakayas cuddled the small thing close. The baby inside the bag was bare and smelled like he needed a change of the cattail fluff that served as his diaper. Omakayas didn't mind. She carried the baby boy with a need and happiness that the woman, so relieved to hand the baby over, could not have guessed at. Having lost her own brother, Omakayas took comfort in this baby's tiny weight and light breath. She would protect him, she promised as they walked. She would keep him company and give him all the love she had stored up but could no longer give to her little brother Neewo.
The baby peered watchfully into her eyes. Though tiny and helpless, he seemed determined to live. With a sigh he rooted for milk, for something, anything. Anxiously, Omakayas hurried toward the camp.
The angry boy with the long stick legs and frowning face sat next to Pinch by the fire. He glared up when Omakayas entered the clearing, but then his whole attention returned to the bowl of stew in his hands. He stared into it, tense as an animal. He tried without success to keep from gulping the stew too fast. His hands shook so hard that he nearly dropped the bowl at one point, but with a furious groan he righted himself and attained a forced calm. Straining to control his hunger, he lifted the bowl to his lips and took a normal portion of meat between his teeth. Chewed. Closed his eyes. When Omakayas saw from beneath one half-shut eyelid the gleam of desperation, she looked away. Not fast enough.
"What are you staring at?" the boy growled.
"Don't even bother with her," said Pinch, delighted to sense an ally with whom he might be able to torment his sister. "She's always staring at people. She's a homely owl!"
"Weweni gagigidoon," said Angeline, throwing an acorn that hit Pinch square on the forehead. She told her brother to speak with care, then commanded him, "Booni'aa, leave her alone!"
Excerpted from The Game of Silence by Louise Erdrich Excerpted by permission.
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In the past year alone, Louise Erdrich completed one novel, nearly finished another, opened a bookstore and, at forty-six, gave birth to a daughter named Azure. When Erdrich walks into her Minneapolis store, Birch Bark Books, Herbs and Native Arts, she is juggling an armful of paper and books and passing out chocolate tins with pictures of Elvis Presley and the cartoon character Pepe Le Pew on top. She adjusts Azure, who's ready to be fed. "Overdoing it is my motto," she announces. "I'm one of those overdoing-it mothers."
Motherhood isn't the only area where Erdrich overachieves. She's published nine books of fiction, two volumes of poetry, two children's books, a book of essays, and numerous short stories and poems. Her work is recognized for its complexity and for its poetic, touching, gently sarcastic, and humorous voice. Erdrich delves into how Native and European American cultures come together, clash, fall apart and, at times, figure each other out and learn to love. Showing compassion for all her characters -- no matter what their weaknesses or sins, of which they tend to have a multitude -- she often writes stories with more than one point of view. She did so masterfully in her first and best-known book, Love Medicine, and she does so -- again, masterfully -- in the new one, The Last Report on the Miracles at Little No Horse. Lyrically reflective, wittily refracted, and adeptly sensual, the story centers on Agnes DeWitt, who, because of a series of passions and events, lives most of her life as Father Damien Modeste, a mission priest on an Indian reservation between 1912 and 1996. The Last Report -- the sixth in a series of Erdrich books to focus on two families in Argus, a fictional Red River Valley reservation town along the Minnesota-North Dakota border -- is as thoroughly imbued with a challenging kind of spirituality as it is graced with an intriguing story.
Rich and complex as Erdrich's writing is, her life matches it for intensity and involvement -- and she wouldn't have it any other way. "I only enjoy life if it's really complicated," she says. She exudes a calm strength, but hers is a serenity earned, likely necessitated, by a life and career visited often by controversy and tragedy.
At Birch Bark Books, Erdrich's complexity is on display. There's an oil painting, for instance, by imprisoned activist Leonard Peltier, of Ka-ishpah, a forefather of Erdrich and freedom fighter of the Turtle Mountain Ojibwe, the same band to which Erdrich (of Ojibwe and German heritage) and Peltier belong. Erdrich attended Peltier's 1977 trial for the murder of two FBI agents and is confident that "not one scintilla" of hard evidence linked Peltier to the murders. After Peltier was convicted (he's been held in Leavenworth Prison for twenty-four years), she wrote to him and they began a correspondence. In December, The New York Times published her editorial in support of Peltier while President Clinton was considering a pardon; it was not granted. On another wall is a shelf filled with books by Michael Dorris, Erdrich's former husband and writing partner. Erdrich met Dorris in 1972 when she enrolled in Dartmouth's first coed class; he was the head of the Native American Studies program. The two didn't get involved until several years after Erdrich graduated and after she'd worked as a waitress, a poetry teacher at prisons, a construction-flag signaler, an editor for the Boston Indian Council's newspaper, The Circle, and had earned a master's degree in creative writing at Johns Hopkins. By then, Dorris was a father, the adoptive single parent of three Native American children who suffered from fetal alcohol syndrome, an experience he described in a 1989 memoir, The Broken Cord. Erdrich and Dorris married in 1981, had three daughters, and collaborated intensely on projects, including co-authoring the 1991 novel The Crown of Columbus.
But their life together unraveled. They separated in 1995, and were planning to divorce, when allegations of criminal sexual child abuse were leveled against Dorris by some of his children. He was under investigation, but nothing was resolved. Dorris committed suicide in 1997.
After Dorris's death, Erdrich was pursued by rumor and innuendo about the couple's marriage, their separation, their family, their careers. Published next to an article in the Minneapolis Star Tribune that explained the allegations and details about Dorris's death -- a story for which Erdrich declined to be interviewed -- was a letter she wrote the editor. She expressed thanks to the community for its kind support, and asked that her family be granted privacy and time to grieve.
Today, Erdrich fiercely guards her privacy and that of her children. Quite simply, she states, "I'm finished talking about relationships." But her writing speaks to that which she won't; The Last Report can be seen as an extended reflection on exactly that -- relationships -- and it explores other issues central to Erdrich's life.
"I think every book is connected to a writer's psyche, but I can't say I know exactly how," Erdrich says. "It would be easy to say you were having gender issues at the same time you were writing, or a religious crisis. Certainly the task of my life has been to bring my daughters through a period of grief, but I don't think that's what the book is about entirely. It is about surviving, but I think it's about surviving yourself. The book became to me a search for a spiritual solution to the old human dilemma: Why am I me and why am I here and why is it so hard to be who I am?"
Hearing the Stories
A few years ago, Erdrich and her daughters walked by a blackened storefront window in their peaceful Minneapolis neighborhood. They started fantasizing about opening a bookstore, "complete with the bookstore cat you see in all those British movies." When the space came up for lease, Erdrich and her sister, poet Heid Erdrich, decided to start a business.
After stripping it back to its original bones -- it was originally a meat market, then a dentist's office -- they put in a stairway made from birch trees some friends in Wisconsin had found blown down on their land. Then they brought in the confessional.
Erdrich -- who claims to have a terrible addiction to rummage sales, estate sales, and anything vintage -- rescued the intricately carved Roman Catholic confessional from an architectural salvage store. Heid thought they could wire the confessional for CDs on one side and tapes on the other; their mother suggested they put books with sins in the title -- especially those about the seven deadly sins -- inside. Dream catchers dangle from the confessional's corners. A plain, framed copy of the U.S. Government's 1837 Treaty with the Chippewa hangs inside. It's a three-dimensional metaphor, raising questions about the role of the church and government in the life of Native Americans during the colonization of North America and bringing together both sides of Erdrich's ancestry. Though it serves mainly as decoration, Erdrich admits that she bought it because she "wanted to sit in the priest's box for once."
The confessional, a place of comfort and grace, is a reminder of the sanctity of stories and necessity of privacy. As a writer, Erdrich has been sitting in the priest's box for a long time. "Fiction for me is listening," she says. "It's about what I hear. I keep notes and I jot things down all the time and see what comes over the airwaves, what comes over the brain waves."
The oldest of seven children, Erdrich was born in Little Falls, Minnesota, and raised in Wahpeton, North Dakota, where her parents both taught at a Bureau of Indian Affairs school. An avid reader, she also enjoyed the record player her father purchased with green stamps. "Not only did I read Shakespeare, but I had the record of King Lear, which was fantastic. Being in North Dakota, I never actually saw a stage production, but I heard King Lear. I can still hear that record, the sound of those voices." The voices Erdrich listened to while writing Love Medicine came to her primarily as first-person confessions. The book is a multigenerational portrait of two Ojibwe families, the Kashpaws and Lamartines, set in Argus. Over the past seventeen years, those whispers have added up to five more novels about the Kashpaws and Lamartines: The Beet Queen, Tracks, The Bingo Palace, Tales of Burning Love, and, now, The Last Report. "These are the people who came and talked to me way back when," Erdrich says. "And they keep talking to me, so I have to keep writing about them. I don't have a real choice about it. It's not like I can say, 'Now, I'm finished.' Because then they come back and they have another story to tell."
She stays busy with other stories, too. Starting in 1996, for instance, she published three books in three years: Grandmother's Pigeon, a children's story, The Antelope Wife, and The Birchbark House, which her friend Mark Anthony Rolo, a playwright and the former editor of Minneapolis's Native American newspaper, The Circle, says was the result of her dream to write the Native American version of Little House on the Prairie. She illustrated the book, which became a finalist for the National Book Award for Young People's Literature.
"The great thing about Louise," says Rolo, a member of the Bad River Ojibwe, "is that she lives in a Native community in town. And her family is well rooted in her community back home. She is not the Jane Austen of the Native community looking out a window at the industrial plight of her people."
The First Step of The Last Report
Erdrich started writing The Last Report in 1988, originally intending it to explain how all the earlier novels came into being. She imagined the local priest in Argus, Father Damien, who had appeared as a minor character in Love Medicine, divulging all the confessions of the community to a writer, who would turn out to be Erdrich herself. It wasn't until six years and several books later that Erdrich picked up The Last Report again. The completed version chronicles the life of Father Damien. Erdrich started the book with two images: a woman in a white nightgown floating down a river on the top of a piano, and a priest taking his clothes off for bed and revealing that he is actually a woman. Turns out they became the same person.
Some of those images come directly from Erdrich's life. Though no longer a practicing Roman Catholic, she was raised in the church and still reads everything that comes her way about Catholicism. A nun taught her piano when she was a young girl; she resumed playing in her late thirties, during "a particularly difficult time" and was astonished that her fingers remembered the old pieces. Today, she calls it an incredible solace to be able to have music when she wants it. "For a time I relied upon it so much," she says. "It was enormously consoling." As for the river, growing up, Erdrich was always conscious of its moods: The nearby Red River flooded when she was a child, and again in April 1997. It devastated Grand Forks, North Dakota, that time: It reached flood stage on April 4, and the dikes overflowed on Friday, April 18; Michael Dorris died in the midst of that flood (his body was found on April 11, 1997). The Last Report, which in its early pages is visited by a flood, ends in 1997, too.
Erdrich's new book is filled with lost love, lost identities, stories in danger of being forgotten, illness and death. But at its heart, The Last Report -- lyrical and funny and mesmerizing -- is about someone who, rather than being overwhelmed by loss, survives it. Agnes, in spite of her deprivations, achieves a fantastically full life.
"Agnes really has to live through the fact that she has an amazing drive to follow what her spirit dictates. She does follow it, and it is immensely difficult," Erdrich says of her heroine. "So maybe that's what it's about. And if it's autobiographical, what can I say?" She laughs. "It's hard surviving Louise. Louise has trouble surviving Louise."
But as she finishes her next novel, she has help. It's been a few years since she's had an infant with her while she works. "I talk to Azure every morning, and I say, 'So you're going to help me write the book, right?' " Then, after she gets her older daughters ready for school, Erdrich sneaks up to her room with a cup of tea. She ties the ropes of an Ojibwe swing to her foot so she can swing Azure and write at the same time.
"Maybe when I'm eighty, I'll start being a person who will choose the less complex of the choices, and life will be manageable," Erdrich says. "But I don't do that. I have an overwhelming need to experience everything that life can possibly offer." (Karen Olson)
Posted September 7, 2005
When it comes to stories of the Ojibwe people, it seems to this reader/listener that Louise Erdich writes not only with her pen but also with her heart. A native of North Dakota, Erdrich is of German-American/Chippewa descent, and she is a member of the Turtle Mountain Band of Ojibwe. Thus, her novel 'The Birchbark House,' which introduced young Omakayas, glistened with insight and admiration for characters who lived in the 1850s. The same may be said of 'The Game of Silence,' beautifully delivered by voice actress Anna Fields. Now, of course, Omakayas is older and she has learned a great deal as she goes about her days among her people, all following the shifting seasons. There have been changes: a sister has found someone to love, and Omakayas becomes aware that she possesses a unique gift - her dreams foretell the future. As the story opens, days are peaceful on a Lake Superior island. The people live in houses made of birchbark during the summer, then as the days grow cooler they prepare for harvest. When winter falls all will leave their birchbark houses for cedar cabins close to a town, LaPointe. However, the Ojibwe's serenity is interrupted by white men who want them to leave the island, want to push them away from the land they call home. Intended for young listeners, those in grades 5 through 8, 'The Game of Silence' will not only offer them a wealth of historical detail but also a reminder of the beauty and bounty of nature. - Gail Cooke
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Posted August 25, 2013
This book was horrible. I would give it no stars if possible. The chapters are too long and get off topic to easily. Don't waste your money on this book. Get an awesome book like the iron king or half moon investegation. Now those are real books not this piece of crap.
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