The Plague of Doves: A Novel (Hardcover)

by Louise Erdrich (Author)
Key Phrases: Father Cassidy, Plague of Doves, Holy Track (more...)

Editorial Reviews

From Publishers Weekly
Starred Review. Erdrich's 13th novel, a multigenerational tour de force of sin, redemption, murder and vengeance, finds its roots in the 1911 slaughter of a farming family near Pluto, N.Dak. The family's infant daughter is spared, and a posse forms, incorrectly blames three Indians and lynches them. One, Mooshum Milk, miraculously survives. Over the next century, descendants of both the hanged men and the lynch mob develop relationships that become deeply entangled, and their disparate stories are held together via principal narrator Evelina, Mooshum Milk's granddaughter, who comes of age on an Indian reservation near Pluto in the 1960s and '70s and forms two fateful adolescent crushes: one on bad-boy schoolmate Corwin Peace and one on a nun. Though Evelina doesn't know it, both are descendants of lynch mob members. The plot splinters as Evelina enrolls in college and finds work at a mental asylum; Corwin spirals into a life of crime; and a long-lost violin (its backstory is another beautiful piece of the mosaic) takes on massive significance. Erdrich plays individual narratives off one another, dropping apparently insignificant clues that build to head-slapping revelations as fates intertwine and the person responsible for the 1911 killing is identified. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The Washington Post

Reviewed by Ron Charles

"History works itself out in the living," says a character in Louise Erdrich’s new novel, and, indeed, the history in The Plague of Doves is something of a workout. She's challenged us before with complex, interconnected stories about the Ojibwe people of North Dakota, but here she goes for broke, whirling out a vast, fractured narrative, teeming with characters — ancestors, cousins, friends and enemies, all separated and rejoined again and again in uncanny ways over the years. Worried about losing track, I started drawing a genealogical chart after a few chapters, but it was futile: a tangle of names and squiggling lines. That bafflement is clearly an intentional effect of this wondrous novel; the sprawling cast whose history Erdrich works through becomes a living demonstration of the unfathomable repercussions of cruelty.

In the creepy, one-paragraph chapter that opens The Plague of Doves, a man murders five members of a white family in Pluto, N.D., near the Ojibwe reservation in 1911. The chronology of the stories that follow is radically jumbled, but the massacre in Pluto precipitates another one: When four hapless Indians come upon the dead family, they discover that a baby has been left alive in the house. Determined to save the child from abandonment but worried they'll be held responsible for the murders, they leave an anonymous note for the sheriff. Their plan backfires, though, and a gang of white men lynches the Indians in a heartbreaking scene that is among the most moving and mysterious in the novel.

These dual crimes hang over the town and the nearby reservation for decades, spreading through the population's DNA as relatives of the victims and the perpetrators work together, intermarry and teach each other's children. "Sorrow was a thing that each of them covered up according to their character," Erdrich writes. "Nothing that happens, nothing, is not connected here by blood." As the town's economy slowly dies, the whites forget the gruesome incident, or pretend to; the Indians bear it like a festering, private wound; and the area's many biracial members worry over its unanswered questions. "Now that some of us have mixed in the spring of our existence both guilt and victim," one of them says, "there is no unraveling the rope."

At the center of all this complication is Evelina Harp, a passionate, endearing young woman, who, like Erdrich, is the daughter of an Indian mother and a white teacher on the reservation. We follow Eve from grade school to college, through crushes on her dangerous cousin, her gargoyle-like sixth-grade teacher and the writings of Anaïs Nin. Eve also has an unquenchable appetite for stories, particularly the captivating tales told by her grandfather, Mooshum. Fans of Erdrich's rich chronicle of the Ojibwe will notice with pleasure his resemblance to the old Indian Nanapush from Tracks (1988) and Four Souls (2004), though Mooshum is, ultimately, a more tragic character.

His intimate rendition of the murders and subsequent lynching permanently jars Eve's sense of her community. "I could not look at anyone in quite the same way anymore. I became obsessed with lineage," she says. "I traced the blood history of the murders through my classmates and friends until I could draw out elaborate spider webs of lines and intersecting circles." But that bewildering thicket of consequence and blame eventually wreaks havoc on Eve's mind, forcing her to reconsider just what kind of woman she is. "When we are young," she observes wisely, "the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape."

Following the form Erdrich developed in her first novel, Love Medicine (1984), other narrators take over parts of this book, either shading events Eve understands only vaguely or adding whole new branches to the community's history. Some of these discontinuous episodes -- from the arrival of white settlers to the social problems of the 1970s -- relate tangentially to each other, but the connections among many parts of the novel are invisible until much later. We hear the story of 19th-century speculators launching out during winter to lay claim on this land, only to end up eating their shoes one frozen night. The tale of a dove infestation in 1896 -- which gives the novel its title -- reads like a Native American twist on Alfred Hitchcock, the lovely birds accumulating until they become grotesque. And decades later, a bank robbery leads to the bizarre rise of an apocalyptic cult.

What marks these stories -- some of which appeared in the New Yorker and the Atlantic -- is what has always set Erdrich apart and made her work seem miraculous: the jostling of pathos and comedy, tragedy and slapstick in a peculiar dance. As horrific as the crimes at the heart of this novel are, other sections remind us that Erdrich is a great comic writer. When Mooshum isn't leading Eve through the history of her family, he's daring the local Catholic priest to save him or pursuing alcohol and romance with dogged, hilarious determination. Some of the funniest moments take place during a funeral, and even the murders and lynchings that bleed so much heartache are heightened by incongruous notes of humor.

Despite its remoteness, the tiny town of Pluto begins to seem more and more like a microcosm of America and its troubled past. Judge Antone Coutts, a descendant of one of the original white settlers, notes that "the entire reservation is rife with conflicting passions. We can't seem to keep our hands off one another, it is true, and every attempt to foil our lusts through laws and religious dictums seems bound instead to excite transgression." In the end, the hatred and suspicion between Indians and whites are subsumed by their tangled history, the passage of time that bestows its own strange peace. Hovering over the entire novel is the image of those voracious doves, covering the ground, blanketing everything, consuming everything in a fluttering wave of white feathers.

"I am sentenced to keep watch over this small patch of earth," says one character, who could just as well be speaking for Erdrich herself, "to judge its miseries and tell its stories. That's who I am."

Sit down and listen carefully.

Copyright 2008, The Washington Post. All Rights Reserved.

See all Editorial Reviews

Product Details

• Hardcover: 320 pages
• Publisher: Harper; First Edition edition (April 29, 2008)
• Language: English
• ISBN-10: 0060515120
• ISBN-13: 978-0060515126
• Product Dimensions: 8.9 x 6.5 x 1.1 inches
• Shipping Weight: 1.5 pounds (View shipping rates and policies)
• Average Customer Review: 4.0 out of 5 stars See all reviews (46 customer reviews)
• Amazon.com Sales Rank: #16,636 in Books (See Bestsellers in Books)

  Popular in these categories: (What's this?)

  #3 in	Books > Literature & Fiction > United States > Native American > Erdrich, Louise
  #3 in	Books > Literature & Fiction > Authors, A-Z > ( E ) > Erdrich, Louise
  #55 in	Books > Literature & Fiction > Genre Fiction > Family Saga

Customer Reviews

Most Helpful Customer Reviews

32 of 33 people found the following review helpful:

5.0 out of 5 stars Brutal, crazy and in the end stunning!, May 2, 2008

By	Gretchen Schwenee - See all my reviews (REAL NAME)

I first came to know Erdrich after reading The Master Butchers Singing Club (P.S.) a couple years ago and loved it. I since have gone back and read Tracks and The Painted Drum: A Novel (P.S.) which I found equally as good. So it was a happy surprise to find "The Plague of Doves" at my book store the other day and I am happy to report she has written another book that I cant stop thinking about. The book begins with the 1911 murders of a North Dakota farm family. Only a baby daughter is spared. But when a group of destitute Indians come upon the scene they find the baby but fear the murders will be blamed on them. Instead they leave an unsigned note for the local sheriff in hopes he will find the baby. Things go horribly wrong though and a posse is formed and the Indians lynched. This scene in the book is very powerful and brought back memories of The Ox-Bow Incident (Modern Library Classics) (highly recommended by the way). This might be an entire plot line for a novel but it is just the opening scene here. Over the next 100 years the lives of the relatives of the Indians and the lynch Mob continue to intersect in this small town and the sins of their ancestors continue to haunt them. Like pieces of a puzzle the author tells their stories through the decades, at times they seem to be going in opposite directions, but in the end the author brings it all together in a stunning conclusion. This is a deeply layered novel with many voices that could have become a mess in unskilled hands (in fact there were times I was scratching my headtrying to keep all the characters stright) but in the end Erdich works her magic again. Another novel where the author skillfully weaves in a number of voices into the narrative is "Misfits Country" highly recommended!

32 of 34 people found the following review helpful:

5.0 out of 5 stars "Nothing that happens, nothing, is not connected here by blood.", May 5, 2008

By	Mary Whipple (New England) - See all my reviews (TOP 10 REVIEWER)    (COMMUNITY FORUM 04)

When Seraph Milk, known as Mooshum to his young granddaughter Evelina, haltingly tells her about a brutal 1911 crime in which he was involved, he reveals the underlying horrors which unite and divide all the families she knows. Mooshum was one of four Ojibwe Indians from Pluto, North Dakota, who were captured and strung up for the gruesome murder of the Lochrens, a white family. Only Mooshum, among the Indians captured in the area immediately after the murders, miraculously survived the vigilante hangings, and while, ironically, only an infant daughter of the Lochrens, overlooked by the murderer or murderers, survived the massacre.

The murder and lynching reverberate through the relationships within both the Indian and white communities over almost one hundred years. Erdrich is at her best here, telling overlapping family stories--horrifying, loving, hilarious, mystical, passionate, lyrical, and thoughtful--as she reveals life in the Native American and white communities from multiple points of view, across time. As the characters evolve, Erdrich reveals her major theme--the diminishing hold the distant past has on successive generations as each generation creates and feeds on its own past. The influx of white residents to Pluto, numerous intermarriages, and the influence of Christian priests, among other effects, all reduce the emphasis on shared Native American values.

Filling her novel with vibrant characters who reveal their lives and stories--and often cast new light on old stories--Erdrich creates a kaleidoscope of swirling images and moods, filled with irony. The drama of the murder and hangings shares time and space with hilarious scenes in which Mooshum and his unregenerate friends taunt the local priest. Ironically, other members of his family consider becoming priests. Evelina, the third generation, looks for answers, not in religion, but in psychology and love. Another young man Evelina's age becomes an evangelical preacher with a large commune and a snake-handling wife. Though the past and tradition exert their influence, they become less important to subsequent generations, who look toward the future, and by the end of the novel, "the dead of Pluto now outnumber the living."

Though some of Erdrich's character sketches and stories end rather abruptly, perhaps that, too, is part of the thematic structure--in real life such stories also end abruptly, as times and people change. With a far greater emphasis on characters and their stories than we have seen in Erdrich's most recent, more plot-based novels, and with a grand canopy of theme overarching all, this novel is a triumph--big, broad, thoughtful, and ultimately, important. n Mary Whipple

The Painted Drum: A Novel (P.S.)
The Master Butchers Singing Club (P.S.)
The Last Report on the Miracles at Little No Horse: A Novel
The Beet Queen: A Novel (P.S.)
The Porcupine Year

29 of 32 people found the following review helpful:

3.0 out of 5 stars Plagued by Short Stories, May 8, 2008

By	Nina (Nashville TN) - See all my reviews

This is my first novel by this author, and it will probably win a major award this year. That being said, I was glad when, for some unknown reason, I turned to the end of the book halfway through and noticed in the acknowledgements that it had originally appeared as short stories in various periodicals. That explained to me the disjointed nature of the narrative, and I was somewhat relieved at my bewilderment.

"When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape." (p. 268) The story must have a shape, and this one falls short. It reads like the short stories that it was. I would argue that it is individual stories of individual characters - albeit well-written stories - with no real plot.

A family tree on the inside cover would have helped too. Ms. Erdrich may have lived with her characters for years, but I hadn't, and as another reviewer wrote, it was easy to forget who was related to whom.

Nevertheless, I give it 3 stars for the some of the more interesting short stories and characters.