Over the course of 13 years and five novels, Louise Erdrich has staked out a richly imagined corner of North Dakota soil--her own Yoknapatawpha, where every character is connected to every other and nothing can be said to happen for the first time. The Last Report on the Miracles at Little No Horse
is no exception. The report in question comes from Father Damien Modeste, who has served the Ojibwe through a century of famine, epidemics, murders, and feuds. But the good priest is not what he appears. The prologue ends with the curiously beautiful image of the old man slowly removing heavy robes, undergarments, and, at last, a bandage wound tightly around women's breasts: "small, withered, modest as folded flowers."
How--and why--could such a deception last so long? That's the first mystery. The second begins when Father Jude Miller (a name familiar to readers of The Beet Queen) arrives to investigate the life of Sister Leopolda (or Pauline Puyat, another familiar name). Was Leopolda a saint? Or its opposite, whatever that is? Miracles, after all, are a part of the reservation's everyday life; for every nun's stigmata there's a secular wonder like the death of Nanapush. Indeed, the chapter detailing this old trickster's demise is the kind of earthy, tragicomic fable Erdrich does to perfection, including as it does an extended trial by moose, death by flatulence, and not one but two lustful resurrections.
Erdrich's writing is at its best when she chronicles the bittersweet humor of reservation life. It's at its worst, sadly, when she cranks up the fog machine and goes for the violins. ("He had the odd sensation that petals drifted in the air between them, petals of a fragrant and papery citrus velvet," she tells us, telegraphing Father Jude's attraction to a woman.) But at least the book's sins are sins of ambition--this is a novelist who revisits the same territory because the capaciousness of her vision demands it. Readers may forgive Erdrich's vagueness about Father Damien's religious calling, but they will never forget her images, as lovely and surprising as figures glimpsed in a dream: the devil in the shape of a black dog, his paw in a bowl of soup; freshly planted pansies, nodding at the priests' feet "like the faces of spoiled babies"; a woman in a billowing white nightdress riding a grand piano through the "gray soup" of a flood. Moments like these are small miracles of their own. --Mary Park
From Publishers Weekly
Erdrich seems to be inhabiting her characters, so intense and viscerally rendered are her portrayals. Her prose shimmers: a piano being carried across the plains is "an ebony locust." This novel will be remembered for a cornucopia of set pieces, all bizarre and stunning: wounded and taken hostage by a bank robber and pinned to the running board of his Overland automobile, Agnes, "her leg a flare of blood," briefly touches hands with her astonished lover as the car crosses his path; old man Nanapush, impaled on fish hooks that pin him to a boat that's hitched to the antlers of a wounded moose, careens through the woods in delirious exhaustion. Writing with subtle compassion and magical imagination, Erdrich has done justice to the complexities of existence in general and Native American life in particular. First serial selections in the New Yorker have whetted appetites for this novel, and picks by BOMC and QPB, major ad/promo and an author tour will give it wide exposure. (Apr.)
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