We were to set off on the far northern end of the lake and arrive at the south, where our uncles had lighted fires and brought the violin, wrapped in red cloth, set in its fancy case. We started out together, joking. Lafayette, you remember how we paddled through the first two narrows, laughing as we exaggerated our efforts and how I said, as what I’d done with the soft pitch weighed on me, “Maybe we should share the damn thing after all.”
You laughed and said that our uncles would be disappointed, waiting there, and that when you won the contest things would be as they were before, except all would know that Lafayette was the faster paddler. I promised you the same. Then you swerved behind a skim of rock and took what you perceived to be your secret shortcut. As I paddled, I had to stop occasionally and bail. At first I thought that I had sprung a slow leak, but in time I understood. While I was painting on extra pitch you were piercing the bottom of my canoe. I was not, in fact, in any danger, and when the wind shifted all of a sudden and it began to storm, no thunder or lightning, just a buffet of cold rain, I laughed and thanked you. For the water I took on actually helped steady me. I rode lower, and stayed on course. But you foundered — it was worse to be set off balance. You must have overturned.
The bonfires die to coals on the south shore. I curl in blankets but I do not sleep. I am keeping watch. At first when you are waiting for someone, every shadow is an arrival. Then the shadows become the very substance of dread. We hunt for you, call your name until our voices are worn to whispers. No answer. In one old man’s dream everything goes around the other way, the not-sun-way, counterclockwise, which means that the dream is of the spirit world. And then he sees you there in his dream, going the wrong way too.
The uncles have returned to their cabins, hunting, rice beds, children, wives. I am alone on the shore. As the night goes black I sing for you. As the sun comes up I call across the water. White gulls answer. As the time goes on, I begin to accept what I have done. I begin to know the truth of things.
They have left the violin here with me. Each night I play for you, Brother, and when I can play no more, I’ll lash our fiddle into the canoe and send it out to you, to find you wherever you are. I won’t have to pierce the bottom so it will travel the bed of the lake. Your holes will do the trick, Brother, as my trick did for you.
HERE WAS AT least a partial answer to my grandfather’s question of what had happened to the two Peace brothers, Henri and Lafayette, who had once promised to bury him, but who instead had found him meat and hung a crucifix around his neck. More than that, the canoe did not sink to the bottom of the lake, that was one thing. Nor did it stray. That was another. Sure enough, the canoe and its violin had eventually found a Peace through the person and the agency of Shamengwa. That fiddle had searched long for Corwin. I had no doubt. For what stuck in my mind, what woke me in the middle of the night, after the fact of reading it, was the date on the letter. 1888 was the year. But the violin spoke to Shamengwa and called him out onto the lake in a dream almost twenty years later.
“How about that?” I said to Geraldine. “Can you explain such a thing?”
She looked at me steadily.
“We know nothing” is what she said.
I was to marry her. We took in Corwin. The violin lies deep buried, while the boy it also saved plays for money in a traveling band now, and prospers here on the surface of the earth. I do my work. I do my best to make the small decisions well, and I try not to hunger for the great things, for the deeper explanations. For I am sentenced to keep watch over this small patch of earth, to judge its miseries and tell its stories. That’s who I am. Mii’sago iw.
Evelina
The Reptile Garden
IN THE FALL of 1972, my parents drove me to college. Everything I needed was packed in a brand-new royal blue aluminum trunk — a crazy-quilt afghan my mother had crocheted for my bed, a hundred 4-B’s dollars’ worth of brand-new clothes, my Berlitz Self-Teacher, the Meditations by Marcus Aurelius (a paperback copy from Judge Coutts), a framed photograph, a beaded leather tobacco pouch that Mooshum had owned since I could remember, and which he casually handed to me, the way old men give presents, and from my father a stack of self-addressed envelopes each containing a new dollar bill. He had special stamps on each envelope that he wanted postmarked — some on particular days.
The other freshmen were moving into their dormitory rooms with their parents helping haul. I saw boxes of paperbacks, stereo equipment. Dylan albums and acoustic guitars of golden varnished wood. Home-knitted afghans, none as brilliant as mine. Janis posters. Bowie posters. Brightly splashed print sheets, hacky-sacks, stuffed bears. But as we carried my trunk up two flights of stairs, dread invaded me. In spite of my determination to go to Paris, I had actually dreaded leaving home even to go as far as Grand Forks, and in the end my parents did not want me to, either. But I had to go, and here I was. We walked back down the stairs. I was too miserable to cry and I do not remember our final embraces, but I watched my mother and father as they stood beside the car. They waved to me, and that moment is a clear, still picture. I can call it up as if it was a photograph.
My father, so thin and athletic, looked almost frail with shock, while my mother, whose beauty was still remarkable and who was known on the reservation for her silence and reserve, had left off her characteristic gravity. Her face, and my father’s face, were naked with love. It wasn’t something that we talked about — love — and I was terrified of its expression from the lips of my parents. But they allowed me this one clear look at it. Their love blazed from them. And then they left. I think now that everything that was concentrated in that one look — their care in raising me, their patient lessons in every subject they knew to teach, their wincing efforts to give me freedoms, their example of fortitude in work — allowed me to survive myself.
The trunk was quickly emptied, my room was barely filled. I had framed a picture of Mooshum dressed up in his traditional clothes. He had a war club in one hand, but he was smiling in a friendly way, his dentures a startling snow-white. His headdress, a roach with two eagle feathers, bobbed on ballpoint-pen springs attached to fishing swivels. His head was cocked at a jaunty angle. A heart-shaped mirror in the middle of his forehead was supposed to snare the hearts of ladies in the crowd. I had a picture of my great-uncle, too, a modest black-and-white photo in which he held his violin. Books to my chest, I curled up beneath the afghan and looked first at Mooshum, then at Shamengwa, and then out the window. I think I realized right then that this place was where I’d spend most of my first semester.
The white girls I knew listened to Joni Mitchell, grew their hair long, smoked impatiently, frowned into their poetry notebooks. The other girls — Dakota, Chippewa, and mixed-blood like me — were less obvious on campus. The Indian women I knew were shy and very studious, although a couple of them swaggered around furious in ribbon shirts with AIM-looking boyfriends. I didn’t really fit in with anybody. We were middle-class BIA Indians, and I wanted to go to Paris. I missed my parents and my uncles and was afraid that Mooshum would die while I was gone.