The Plague of Doves - Louise Erdrich [8]
Mooshum slowed down that spring and had trouble putting in the garden. As he got more enjoyment out of his chair, our parents relaxed their boycott. More often now, our father fixed the magic circles of plastic onto their metal posts and twiddled them until the picture cleared. We sometimes watched the Three Stooges all together. The black-haired one looked a lot like the woman who saved his life, said Mooshum, nodding and pointing at the set. I remember looking at his gnarled brown finger and imagining it as the hand of a strong young man gripping the plow or a boy holding the candelabra, which, by the way, my grandparents had lugged all the way down to the badlands, where it had come in handy for killing snakes and gophers. They had given their only possession to Maude as a gesture of their gratitude. She had thrust it back at them on the night they escaped.
That tall, six-branched, silver-plated candelabra with the finish worn down to tin in some spots now stood in a place of honor in the center of our dining room table. It held beeswax tapers, which had recently been lighted during Easter dinner. The day after Easter Monday, in the little alcove on the school playground, I kissed Corwin Peace. Our kiss was hard, passionate, strangely mature. Afterward, I walked home alone. I walked very slowly. Halfway there, I stopped and stared at a piece of the sidewalk I’d crossed a thousand times and knew intimately. There was a crack in it—deep, long, jagged, and dark. It was the day when the huge old cottonwood trees shed cotton. The air was filled with falling down and the ditch grass and gutters were plump with a snow of light. I had expected to feel joy but instead felt a confusion of sorrow, or maybe fear, for it seemed that my life was a hungry story and I its source, and with this kiss I had now begun to deliver myself into the words.
A Little Nip
ON THE KITCHEN wall beside the black tin clock whose hands of poisoned radium glowed in the dark, three pictures hung. John F. Kennedy, Pope John XXIII, and Louis Riel. The first two were color photographs that my father and mother had acquired through school and church. The last was a newspaper photograph, yellowed and frail. My mother had clipped the picture out and placed it carefully into a dime-store frame. In the picture, Riel looked morose and disheveled, a little blurry. Yet he was the visionary hero of our people, and the near leader of what could have been our Michif nation. Mooshum and our mother venerated him, even though Mooshum’s parents had once lived in neat comfort near Batoche, Saskatchewan, and their huge farm would have passed to their sons, if not for Riel. That farm was put to the torch before Mooshum gained the power of speech, because the Milk family had harbored the genius of Riel, supported his cause with money, taken in his wife and child, fed his lieutenants, fought beside him, and angered the priests who threatened excommunication to Riel’s followers and ultimately betrayed them to their killers.
After the rout at Batoche, the family had fled south and crossed the border in darkness, not knowing exactly where they were. As soon as they found an agreeable setting, they tried to homestead again, but the heart was out of them. They lost a baby, settled into a despondent subsistence, and were crushed when they heard Riel was tried and hanged. Riel went to his death wearing moccasins and holding in his hand a silver-worked crucifix. His last words to the attending cleric were Courage, mon père. Joseph Milk, our great-grandfather, had been particularly fond of the moody prophet of the new mixed-blood Catholicism, and he cursed the priests even though his son Severine had just been ordained.
Mooshum had a younger brother, a violin