The Plague of Doves

Shamengwa

FEW MEN KNOW how to become old. Shamengwa did. Even if Geraldine hadn’t been his niece, I would have visited Shamengwa. I admired him and studied him. I thought I’d like to grow old the way he was doing it — with a certain style. Other than his arm, he was an extremely well-made old person. Anyone could see that he had been handsome, and he still cut a graceful figure, slim and medium tall. His fine head was covered with a startling white mane of thick hair, which he was proud of and every few weeks had carefully trimmed and styled — by Geraldine, who still traveled in from the family land just to do it.

He was fine-looking, yes, but there were other things about him. Shamengwa was a man of refinement who practiced clean habits. He prepared himself carefully to meet life every day. Ojibwe language in several dialects is spoken on our reservation, along with Cree, and Michif — a mixture of all three. Owehzhee is one of the words used for the way men get themselves up — neaten, scrub, pluck stray hairs, brush each tooth, make precise parts in our hair, and, these days, press a sharp crease down the front of our blue jeans — in order to show that although the government has tried in every way possible to destroy our manhood, we are undefeatable. Owehzhee. We still look good and know it. The old man was never seen in disarray, but yet there was more to it.

He played the fiddle. How he played the fiddle! Although his arm was so twisted and disfigured that his shirts had to be carefully altered and pinned on that side to accommodate the gnarled shape, yet he had agility in that arm, even strength. With the aid of a white silk scarf, which he chose to use rather than just any old rag, Shamengwa tied his elbow, ever since he was very young, into a position that allowed the elegant hand and fingers at the end of the damaged arm full play across the fiddle’s strings. With his other hand and arm, he drew the bow.

Here I come to some trouble with words. The inside became the outside when Shamengwa played music. Yet inside to outside does not half sum it up. The music was more than music — at least what we are used to hearing. The music was feeling itself. The sound connected instantly with something deep and joyous. Those powerful moments of true knowledge that we have to paper over with daily life. The music tapped the back of our terrors, too. Things we’d lived through and didn’t want to ever repeat. Shredded imaginings, unadmitted longings, fear and also surprising pleasures. No, we can’t live at that pitch. But every so often something shatters like ice and we are in the river of our existence. We are aware. And this realization was in the music, somehow, or in the way Shamengwa played it.

Thus, Shamengwa wasn’t wanted at every party. The wild joy his jigs and reels brought forth might just as soon send people crashing on the rocks of their roughest memories and they’d end up stunned and addled or crying in their beer. So it is. People’s emotions often turn on them. Geraldine sometimes drove him to fiddling contests or places where he could perform in more of a concert setting. He was well-known. He even won awards, prizes of the cheap sort given at local or statewide musical contests — engraved plaques and small tin loving cups set on plastic pedestals. These he kept apart from the other objects in his house. He placed them on a triangular scrap of shelf high in one corner. The awards were never dusted. When his grandniece, Clemence’s girl, was young, she asked him to take them down for her to play with. They came apart and had to be reglued or revealed patches of corrosion in the shiny gilt paint. He didn’t care. He was, however, somewhat fanatical about his violin.

He treated this instrument with the reverence we accord our drums, which are considered living beings and require from us food, water, shelter, and love. They have their songs, which are given to their owners in sleep, and they must be dressed up according to their personalities, in beaded aprons and ribbons and careful paints. So with the violin that belonged to Shamengwa. He fussed over his instrument, stroked it clean with a soft cotton hankie, kept it in a cupboard from which he had removed two shelves, laid it carefully away every night in a case constructed to its shape, a leather case that he kept well polished as his shoes. The case was lined with velvet that was faded by time from heavy blood-red to a watery streaked violet. I don’t know violins, but his was thought to be exceptionally beautiful; its sound was certainly human, and exquisite. It was generally understood that the violin was old and quite valuable. So when Geraldine came to trim her uncle’s hair one morning and found Shamengwa still in bed with his feet tied to the posts, she glanced at the cupboard even as she unbound him and was not surprised to see the lock smashed and the violin gone.

Things will come to me through the grapevine of the court system or the tribal police. Gossip, rumors, scuttlebutt, b.s., or just flawed information. I always tune in and I even take notes on what I hear around. It’s sometimes wrong, or exaggerated, but just as often there is contained a germ of useful truth. For instance, in this case, the name Corwin Peace was on people’s lips, although there was no direct evidence he had committed the crime.

Corwin was one of those I see again and again. Of course, I knew more than I really should have about his origins. It would have been a miracle, I suppose, if he’d turned out well. He was a bad thing waiting for a worse thing to happen. A mistake, but one that we kept trying to salvage because he was so young. Some thought him of no redeeming value whatsoever. A sociopath. A borderline. A clever manipulator drugged dangerous ever since he’d dropped out of school. Others pitied him and blamed his behavior on his father’s spectacular crime, or his mother’s subsequent drinking. Still others thought they saw something in him that could be saved — perhaps the most dangerous idea of all. He was a petty dealer with a car he drove drunk and a string of girlfriends. He was, unfortunately, good-looking, with the features of an Edward Curtis subject, though the hard living was already beginning to make him puffy.

Drugs now travel the old fur trade routes, and where once Corwin would have sat high on a bale of buffalo robes or beaver skins and sung traveling songs to the screeching wheels of an oxcart, now he drove a banged-up Chevy Nova with hubcaps missing and back end dragging. He drove it hard and he drove it all cranked up, but he was rarely caught because he traveled such odd and erratic hours, making deals, whisking to Minneapolis, heading out the same night. He drove without a license — that had been taken from him. And he was always looking for money — scamming, betting, shooting pool, even now and then working a job that, horrifyingly, put him on the other side of a counter frying Chinese chicken strips. I kept careful track of Corwin because it seemed I was fated from the beginning to witness the full down-arcing shape of his life’s trajectory. I wanted to make certain that if I had to put him away, I could do it and sleep well that same night. Now, although the violin was never seen in his possession and we had impounded the Nova, the police kept an eye on him because they were certain he would show his hand and try to sell the instrument.

As days passed, Corwin laid low and picked up his job at the deep-fryer. He probably knew that he was being watched because he made one of those rallying attempts that gave heart to so many of his would-be saviors. He straightened out, stayed sober, used his best manner, and when questioned was convincingly hopeful about his prospects and affable about his failures.

“I’m a jackass,” he admitted, “but I never sank so low as to rip off the old man’s fiddle.”

Yet he had, of course. We just didn’t know where he could be hiding it or whether he had the sense ultimately to bring it to an antiques dealer or an instrument shop somewhere in the Cities. While we waited for him to make his move, there was the old man, who quickly began to fail. I had not realized how much I’d loved to hear him play — sometimes out on his scrubby back lawn after dusk, sometimes, as I’ve mentioned, at those little concerts, and other times just for groups of people who would gather round at Clemence and Edward’s house. It wasn’t that I heard him more than once or twice a month, but I found, like many others, that I depended on his music. After weeks had passed a dull spot opened and I ached with a surprising poignancy for Shamengwa’s loss, which I honestly shared, so that I had to seek him out and sit with him as if it would help to mourn the absence of his music together. One thing I wanted to know, too, was whether, if the violin did not turn up, we could get together and buy him a new, perhaps even a better instrument. I hesitated to ask him, as though my offer was a selfish thing. I didn’t know. So I sat in Shamengwa’s little front room one afternoon, and tried to find an opening.

“Of course,” I said, “we think we know who took your fiddle. We’ve got our eye on him.”

Shamengwa swept his hair back with the one graceful hand, and said, as he had many times, “I slept the whole damn time.”

Yet in trying to free himself from the bed, he’d fallen half off the side. He’d scraped his cheek and the white of his eye on that side was an angry red. He moved with a stiff, pained slowness, the rigidity of a very old person. It took him a long time to straighten all the way when he tried to get up.

“You stay sitting. I’ll boil the tea.” Geraldine was gentle and practical. No one ever argued with her. Shamengwa lowered himself piece by piece back into a padded brown rocking chair. He gazed at me — or past me, really. I soon understood that, although he spoke quietly and answered questions, he was not fully engaged in the conversation. In fact, he was only half present, and somewhat disheveled, irritable as well, neither of which I’d ever seen in him. His shirt was buttoned wrong, the plaid askew, and he hadn’t shaved the smattering of whiskers from his chin that morning. The white stubble stood out against his skin. His breath was sour and he didn’t seem glad at all that I had come.

We sat together in a challenging silence until Geraldine brought two mugs of hot, strong, sugared tea and got another for herself. Shamengwa’s hand shook as he lifted the cup, but he drank. His face cleared a bit as the tea went down, and I decided there would be no better time to put forth my idea.

“Uncle,” I said, “we would like to buy a new fiddle for you.”

Shamengwa took another drink of his tea, said nothing, but put down the cup and folded his hands in his lap. He looked past me and frowned in a thoughtful way. I did not think that was a good sign.

“Wouldn’t he like a new violin?” I appealed to Geraldine. She shook her head as if she was both annoyed with me and exasperated with her uncle. We sat in silence. I didn’t know where to go from there. Shamengwa had closed his eyes. He leaned far back in his chair, but he wasn’t asleep. I thought he might be trying to get rid of me. But I was stubborn and did not want to go. I wanted to hear Shamengwa’s music again.

“Oh, tell him about it, Uncle,” said Geraldine at last.

Shamengwa leaned forward, and bent his head over his hands as though he were praying.

I relaxed now and understood that I was going to hear something. It was that breathless gathering moment I’ve known just before composure cracks, the witness breaks, the truth comes out, the unsaid is finally heard. I am familiar with it and although this was not exactly a confession, it was, as it turned out, something not generally known on the reservation. Shamengwa had owned his fiddle for such a long while that nobody knew, or remembered anyway, a time when he had been without it. But there had actually been two fiddles in his life. There was his father’s fiddle, which he played while he was a boy, and then another, which came to find him through a dream.

The First Fiddle

MY MOTHER LOST a baby boy to diphtheria when I was but four years old, said Shamengwa, and it was that loss which turned my mother strictly to the church. Before that, I remember my father playing chansons, reels, jigs, but after the baby’s death my mother made him put the fiddle down and take Holy Communion. We moved off our allotment for a time and lived right here, but in those days trees and bush still surrounded us. There were no houses to the west. We were not considered to live in the settlement at all and we pastured our horses where the Dairy Queen now stands. My mother out of grief became rigid and tightly ordered with my father, my older brother and sister, and me. Our oldest brother, or half brother, had already left home. He went beyond her and became a priest. We understood why she held to strange laws, and we let her rule us, but we all thought she would relent once the year of first mourning was up. Where before we had a lively house that people liked to visit, now there was quiet. No wine and no music. We kept our voices down because our noise hurt, she said, and there was no laughing or teasing by my father, who had once been a dancing and hilarious man. I missed the little one too. We had put him in the Catholic cemetery underneath a small, rounded, white headstone, where he lies to this day.

I don’t believe my mother meant things to change so, but she and my father had lost everything once already, and this sorrow she bore was beyond her strength. As though her heart was buried underneath that stone as well, she turned cold, turned away from the rest of us, lost her feelings. Now that I am old and know the ways of grief I understand she felt too much, loved too hard, and was afraid to lose us as she had lost my brother. But to a little boy these things are hidden. It only seemed to me that along with that baby I had lost her love. Her strong arms, her kisses, the clean-soap smell of her face, her voice calming me, all of this was gone. She was like a statue in a church. Every so often we would find her in the kitchen, standing still, staring through the wall. At first we touched her clothes, petted her hands. My father kissed her, spoke gently into her ear, combed her short hair — she was a full-blood and in the traditional way had cut off her hair in mourning. It made a fat bush around her head. Later, after we had given up, we just walked around her as you would a stump. Our oldest, my half brother, came and visited. He took my brother away with him to serve at Holy Mass. The house went quiet, my sister took up the cooking, my father became a silent, empty ear, and gradually we accepted that the lively, loving mother we had known wasn’t going to return. If she wanted to sit in the dark all day, we let her. We didn’t try and coax her out. More often, she spent her time at the church. She attended morning Mass and stayed on, her ivory and silver rosary draped in her right fist, her left hand wearing the beads smoother, smaller, until I thought for sure they would disappear between her fingers.

Just after the great visitation of doves, we heard that Seraph had run away. While the rest of the family went to church to pray for his return, one day, I became restless. I wished that I could run away too. I’d been left home with a cold and my sister had instructed me to keep the stove hot — I wasn’t really all that sick but had produced a dreadful, gravelly cough to fool my sister into letting me skip church. I began to poke around, and soon enough I came across the fiddle that my mother had forced my father to stop playing. So there it was. I was alone with it. I was now five or six years old, but I could balance a fiddle and before all of this I had seen my father use the bow. That day, I got sound out of it all right, but nothing satisfactory. Still, the noise made my bones shiver. I put the fiddle back carefully, well before they came home, and climbed underneath the blankets when they walked into the yard. I pretended to sleep, not because I wanted so badly to keep up the appearance of being sick, but because I could not bear to return to the way things were. Something had happened. Something had changed. Something had disrupted the nature of all that I knew. You might think it had to do with my brother running away. But no. This deep thing had to do with the fiddle.

Freedom, I found, is not only in the running but in the heart, the mind, the hands. After that day, I contrived, as often as I could, to stay alone in the house. As soon as everyone was gone I took the fiddle from its hidden place beneath the blankets in the blanket chest, and I tuned it to my own liking. I learned how to play it one note at a time, not that I had a name for each distinct sound. I started to fit these sounds together. The string of notes that I made itched my brain. It became a torment for me to have to put away the fiddle when my parents or my sister came home. Sometimes, if the wind was right, I sneaked the fiddle from the house even if they were home and I played out in the woods. I was always careful that the wind should carry my music away to the west, the emptiness, where there was no one to hear it. But one day the wind might have shifted. Or perhaps my mother’s ears were more sensitive than either my sister’s or my father’s. Because when I had come back into the house, I found her staring out the window, to the west. She was excited, breathing fast. Did you hear it? She cried out. Did you hear it? Terrified to be discovered, I said no. She was very agitated and my father had a hard time to calm her. After he finally had her asleep, he sat an hour at the table with his head in his hands. I tiptoed around the house, did the chores. I felt terrible not to tell him that my music was the source of what she heard. Even then, though I would not have understood all that my father despaired of, sitting there in the lamplight with his head in his hands, I did know that it had to do with my mother and my secret music and that my father thought she heard something she had not. I did know it would have helped him had I admitted the truth. But now, as I look back, I consider my silence the first decision I made as a true musician. An artist. That I must play was more important to me than my father’s pain. I said nothing, but was all the more sly and twice as secretive.

It was a question of survival, after all. If I had not found the music, I would have died of the silence. The rule of quiet in the house became more rigorous and soon my sister fled to the government boarding school. But I was still a child, and if my mother and father sat for hours uttering no word, and required me to do the same, where else was my mind to take itself but music? I saved myself by inventing songs and playing them inside my mind where my parents could not hear them. I made up notes that were not music, exactly, but the pure emotions of my childish heart. As of yet, nobody had thought of school. The stillness in my mother had infected my father. There are ways of being abandoned even when your parents are right there.

We had two cows and I did the milking in the morning and evening. Lucky, because if my parents forgot to cook at least I had the milk. Sometimes I made my supper on a half a warm, foamy bucket. Maybe a little bannock to soften in the milk and chew. I can’t say I really ever suffered from a stomach kind of hunger, but another kind of human hunger bit me. I was lonely. It was about that time I received a terrible kick from the cow, an accident, as she was usually mild. A wasp sting, perhaps, caused her to lash out in surprise. She caught my arm, and although I had no way to know it, shattered the bone. Painful? Oh, for certain it was, I remember, but my parents did not think to take me to a doctor. They did not notice, I suppose. I did tell my father about it, but he only nodded, pretending that he had heard, and went back to whatever he was doing.

The pain in my arm kept me awake, and I know that at night, when I couldn’t distract myself, I moaned in my blankets by the stove. But worse was the uselessness of the arm in playing the fiddle. I tried to prop it up, but it fell like a rag-doll arm. I finally hit upon the solution, a strip of cloth, that I have used ever since. I started tying up my broken arm at that early age, just as I do now. I had of course no idea that it would heal that way and that as a result I would be considered a permanent cripple. I only knew that with the arm securely tied up I could play, and that I could play saved my life. So I was, like most artists, deformed by my art. I was shaped.

There was bound to come a time when I slipped up, but it didn’t come for a while, and by the time it did I was already twelve years old. My father, my mother, and I had gotten used to our strangeness by then. I went to school because the truancy agent finally came and got me. School is where I got the name I carry now. The full-blood children gave it to me as a kind of blessing, I think. Shamengwa, the black and orange butterfly. It was an acceptance of my “wing arm.” Yet, even though a nun told me that a picture of a butterfly in a painting of our lady was meant to represent the Holy Spirit, I didn’t like the name at first. But I was too quiet to do anything about it. My bashfulness about the shape of my arm caused me to avoid people even once I was older, and I made no friends. Human friends. My true friend was hidden in the blanket chest, anyway, the only friend I really needed. And then I lost that friend.

My parents had gone to church, but there was on that winter’s day some problem with the stove there. Smoke had filled the nave at the start of Mass and everyone was sent straight home. So my mother and father arrived when I was deep into my playing. They listened, standing at the door rooted by the surprise of what they heard, for how long I do not know. I had not heard the door open and with my eyes shut not seen the light thereby admitted. I finally noticed the cold breeze that swirled around them, turned, and we stared at one another with a shocked gravity that my father broke at last by asking, “How long?”

I did not answer, though I wanted to. Seven years. Seven years!

He led my mother in. They shut the door behind them. Then he said, in a voice of troubled softness, “Keep on.”

So I did play, and when I quit he said nothing.

Discovered, I thought the worst was over. I put the fiddle away that night. But next morning, waking to a silence where I usually heard my father’s noises, hearing a vacancy of presence before I even knew it for sure, I knew the worst was yet to come. My playing woke something in him. That’s what I think. That was the reason he left. But I don’t know why he had to take the violin. When I opened the blanket box and saw that it was missing, all breath left me, all thought, all feeling. For months after that I was the same as my mother. In our loss, we were cut off from all the true, bright, normal routines of living. I might have stayed that way, gone even deeper into the silence, joined my mother on the dark bench from which she could not return. I would have lived on in that diminished form except that I had a dream.

The dream was simple. A voice. Go to the lake and sit by the southern rock. Wait there. I will come.

I decided to follow these direct orders. I took my bedroll and a scrap of jerky, a loaf of bannock, and sat myself down on the scabby gray lichen of the southern rock. That plate of stone jutted out into the water, which dropped off deeply from its edges into a green-black depth. From that rock, I could see all that happened on the water. I put tobacco down for the spirits. All day, I sat there waiting. Flies bit me. The wind boomed in my ears. Nothing happened. I curled up when the light left and I slept. Stayed on the next morning. As a matter of fact, the next day too. It was the first time I had ever slept out on the shores, and I began to understand why people said of the lake there is no end to it, when of course, as I always thought, it was bounded by rocks. But there were rivers flowing in and flowing out, secret currents, six kinds of weather working on its surface and a hidden terrain underneath. Each wave washed in from somewhere unseen and washed right out again to go somewhere unknown. I saw birds, strange-feathered and unfamiliar, passing through on their way to somewhere else. Listening to the water, another music, I was for the first time comforted by sounds other than my fiddle playing. I let go. I nibbled the bannock, drank the lake water, rolled in my blanket. I saw three dawns and for three nights I watched the stars take their positions in the crackling black heavens. I thought I might just stay there forever, staring at the blue thread of the horizon. Nothing mattered. When a small bit of the horizon’s thread detached, darkened, proceeded forward slowly, I observed it with only mild interest. The speck seemed both to advance and retreat. It wavered back and forth. I lost sight of it for long stretches, then it popped closer, over a wave.

It was a canoe. But either the paddler was asleep in the bottom, or the canoe was drifting. As it came nearer, I decided for sure it must be adrift. It rode so light in the waves, nosing this way, then the other. Always, no matter how hesitant or contradictory, it ended up advancing straight toward the southern rock and straight toward me. I watched until I could clearly see there was nobody in it before I recalled why I had come to that place. Then the words of my dream returned. I will come to you. I dove in eagerly, swam for the canoe — this arm does not prevent that. I have learned, as boys do, to compensate and although my stroke was peculiar I was strong. I thought perhaps the canoe had been badly tied and slipped its mooring, but no rope trailed. The canoe had lost its paddler somehow, gotten away from its master. Perhaps high waves had coaxed it off a beach where its owner had dragged it up, thinking it safe. I somehow pushed the canoe ashore, then pulled it up behind me, wedged it in a cleft between two rocks. Only then did I look inside, at the gear it held. There, lashed to a crosspiece in the bow, was a black case of womanly shape that fastened on the side with two brass locks.

That is how my fiddle came to me, said Shamengwa, raising his head to look steadily at me. He smiled, shook his fine head and spoke softly. And that is why no other fiddle will I play.

Silent Passage

CORWIN SHUT THE door to the room in the basement where his mother’s boyfriend was letting him stay, temporarily. Standing on a door propped on sawhorses, he pushed his outspread fingers against the foam panel of the false ceiling. He placed the panel to one side and groped up behind it among wires and underneath a pad of yellow fiberglass insulation, until he located the handle of the carrying case. Corwin dragged it toward him, overhead, bit by bit until he could tip the case and instrument through the hole into his arms. He bore it down, off the unstable, hollow-core door, to the piece of foam rubber that served as his mattress and through which, every night, he felt the hard cold of the concrete floor seep into his legs. He had taken the old man’s fiddle because he needed money, but he hadn’t thought much about where he would sell it. Who would buy it. Then he had an inspiration. He’d hitch down to Fargo with the fiddle. He’d get out at West Acres Mall and he’d bring the violin there in its case and sell it to a music lover.

Corwin got out of the car and carried the violin into the mall. In his own mind, he liked to quote himself. There are two kinds of people — the givers and the takers. I’m a taker. Render unto Corwin what is due him. His favorite movie of recent times was about a cop with a twisted way of looking at the world so you couldn’t tell if he was evil or good you only knew that he could seize your mind up with language. Corwin had a thing for language. He inhaled it from movies and rock lyrics, television. It rubbed around inside him, word against word. He thought he was writing poems sometimes in his thoughts, but the poems would not come out of his hands. The words stuck in odd configurations and made patterns that raced across the screen of his shut eyes and off the edge, down his temples into the darkness of his neck. So when he walked through the air-lock doors into the warm cathedral space of the central food court, his brain was a mumble of intentions.

He was very proud of his leather jacket which had most of what he owned inside of it, in the inner pockets. And as always he was hyperaware of his own good looks. People treated him like a good-looking person. Others, who knew him well or whom he had burned, avoided him. But this problem was nothing he could fix now. The only way, he imagined, to redeem himself was through impressing people on a level he had not yet reached. He fantasized. As a rock star, the subject of a Rolling Stone interview. Who was the real Corwin Peace? Now, taking a seat in the central court, peering at the distracted-looking customers, he understood that none of them was going to outright buy the fiddle. He got up and walked into a music store and tried to show the instrument to the manager, who only said, “Nah, we don’t take used.” Corwin walked out again. He tried a few people. They shied away or turned him down flat.

Gotta regroup, Corwin told himself, and went back to sit on the central length of bench he had decided to call his own. That was where he got the idea that became a gold mine. It was from a TV show, a clip of a woman passing a musician in a city street and he was playing a saxophone or something of that sort, and at his feet there was an open instrument case. She stopped, and smiled, and threw a dollar in the case. Corwin took the violin out of the case, laid the open case at his feet. He took the violin in one hand and the bow in the other. Then he drew the bow across the string and made a terrible, strange sound.

The screech echoed in the food court and several people raised their lips from the waxed-paper food wrappers, then lowered the wrapped food when they saw Corwin. He looked back at them, poised and frozen. It was a moment of drama — he had them. An audience. He had to act instantly or lose them. He made a flowery, low bow. His move was elegant, the bow in one hand and the instrument in the other. It just came out of him. As though he was accepting an ovation. There were a few murmurs of amusement. Someone even applauded. These sounds acted on Corwin Peace at once, more powerfully than any drug he had yet tried. A surge of zeal filled him and he took up the instrument again, threw back his hair, and began to play a silent, swift passage of music.

His mimicry was impeccable. Where had he learned it? He didn’t know. He didn’t touch the bow to the strings, but he played music all the same. Music ricocheted around between his ears. He could hardly keep up with what he heard. His body spilled over with drama. He threw every move he’d ever seen and then some. When the music in his head stopped, he dipped low, did the splits, which he’d practiced not knowing why. He held the violin and bow overhead. Applause broke over him. A skein of dazzling sound.

The Fire

THEY PICKED UP Corwin Peace pretending to play the fiddle in a Fargo mall and brought him to me. I have a great deal of latitude in sentencing. In spite of my conviction that he was probably incorrigible, I was intrigued by Corwin’s unusual treatment of the instrument. I could not help thinking of his ancestors, the Peace brothers, Henri and Lafayette. Perhaps there was a dormant talent. And perhaps as they had saved my grandfather, I was meant to rescue their descendant. These sorts of complications are simply part of tribal justice. I decided to take advantage of my prerogative to use tribally based traditions in sentencing and to set precedent. First, I cleared my decision with Shamengwa. Then I sentenced Corwin to apprentice himself with the old master. Six days a week, three hours in the morning. Three hours of practice after work in the early evening. He would either learn to play the violin, or he would do time. In truth, I didn’t know who was being punished, the boy or the old man. But now at least, from the house we began to hear the violin.

IT WAS THE middle of September on the reservation, the mornings chill, the afternoons warm, the leaves still thick and poignant in their final sweetness. All the hay was mown. The wild rice was beaten flat. The radiators in the tribal offices went on at night but by noon we still had to open the windows to cool off. The woodsmoke of parching fires and the spent breeze of diesel entered, then, and sometimes the squawl of Corwin’s music from just down the hill. The first weeks were not promising, and I was reminded of the fact that in order to play any instrument well, a person usually must begin as a child. Perhaps, I thought, it was just too late. Then the days turned uniformly cold, we kept the windows shut, and until spring the only news of Corwin’s progress came through Geraldine and from reports made by Corwin’s probation officer. I didn’t expect much. But Corwin showed up at Shamengwa’s every day at eight A.M. It was not until the first hot afternoon in early May that I opened my window and actually heard Corwin playing.

“Not half bad,” I said that night when I visited Shamengwa. “I listened to your student.”

“He’s clumsy as hell, but he’s got the fire,” said Shamengwa, touching his chest. He had improved, physically, along with Corwin’s musicianship. I could tell that he was proud of Corwin, and I allowed myself to consider the possibility that history is sometimes on our side, and an act as idealistic as putting an old man and a hard-core juvenile delinquent together had worked, or had had some effect, or hadn’t ended up, anyway, a disaster.

The lessons and the relationship outlasted, in fact, the sentence and through the summer we heard further slow improvement. Fall came and we closed the windows again. In spring we opened them, and one or two times heard Corwin playing. The summer went, and we heard assurance in the music, so much so that we were reminded, sometimes, of the master. Then Shamengwa died.

His was an ideal and peaceful death, the sort of death we used to pray to Saint Joseph to give us all. Asleep, his violin next to the bed, covers pulled to his chin. Found in the morning by Geraldine. There was a large funeral with the usual viewing, at which people filed up to his body and tucked flowers and pipe tobacco and small tokens into his coffin to accompany Shamengwa into the earth. Everybody said, as they do, Oh, he looks at peace, the old man. Geraldine placed a monarch butterfly upon her uncle’s shoulder. She said she had found it that morning on the grille of her car. Clemence and Whitey held each other outside the church. Then I saw Clemence was holding Whitey up — he was drunk. Edward came and supported Whitey from the other side and went in and got into one pew. Shamengwa’s brother, Seraph, was settled in between Evelina and Joseph. They were patting his shoulders and arms. He was speechless for once. He looked broken, or brokenhearted. He didn’t even look up when Father Cassidy walked to the pulpit and solemnly, with much grinding of the gears, clearing of the throat, and springing up and down on his toes, began the eulogy.

I come now before you in the holy spirit of forgiveness to bless the soul of Seraph Milk

“What?” hissed Geraldine, “he’s got the wrong brother!” She tried to signal the priest with a wave of her hand. But Father Cassidy was on his own track now, and Seraph had perked up a little.

Seraph Milk who died unhouseled, refusing Extreme Unction or the anointment of holy oils. Though his soul may be in hell we have no way of knowing for sure as he was always good at getting out of sticky situations, his family tells me, and moreover, sometimes the saints intercede for sinners on a whim. The Virgin Mary could be looking after him, although in my very presence Seraph Milk expressed doubt upon two specific foundations of our Catholic faith — the Immaculate Conception and the Virgin Birth. His own words were and I quote: I think she pulled a fast one!

The old reprobate improved remarkably. His lip drooped open in a smile. He motioned those around us ready to stand up and protest that he was happy to listen. And anyway, the priest was gathering power, his voice boomed and nobody could have stopped him.

Seraph Milk is now discovering whether or not his other hero, Louis Riel, was right when he proposed the belief that hell was neither infinite nor very hot. We have argued this many times! The Metis believed in a merciful God, you see, but it is my sorry duty to report that God is also just and although His Almighty Compassion may war with his sense of righteousness, he must consider whether we on earth would take him seriously were he not to punish sinners, heretics, liars, fornicators, drunkards, and those who celebrate the Feast of the Ass, as Seraph Milk informed me he did regularly with his brother, who may be greeting him one day in the future, playing a fiddle that spouts the devil’s flames and wringing holy torment from its bow. But all of this is not to say that Seraph Milk necessarily deserves the hell he does not anticipate.

A few people got up from their pews and made furious motions but were pulled back down by others.

Nay! Father Cassidy raised his fingers. There was much good in this man, too, much virtue. Seraph Milk was a true patriarch and was said to love and indulge his children. Though heavily addicted to drink in his youth, he gave it up to some degree, perhaps too late in life to really matter to his wife, but all the same he cut back. From time to time he’d even taper off. Fortunately his young grandchildren, Joseph and Evelina, were not unduly influenced and have turned out as well as can be expected. Their mother is of course a regular communicant in this church, and the Church in its mercy decided to bury her father. No, it is really not for me to say that Seraph Milk belongs in hell, as I am but a servant of God the Father, the Son, and Holy Ghost. Seraph spoke of doves, so I ask that upon his soul there may rest the most generous spirit of blessing by the Holy Spirit, which is represented by the person of a pure white dove. I ask this blessing in spite of Seraph Milk’s expressed wish that I “keep my trap shut about the pagans.” In spite of his secret tippling and his open disregard for the laws and dispensation of our mother the Holy Catholic Church I ask that in His mercy God the Father excuse the sins and degradations of Seraph Milk and allow him to join his long suffering wife, Junesse, who has surely earned her way through her own gentle guidance of Seraph.

It was Clemence who couldn’t take it anymore. She shook Whitey and Mooshum’s hands off her and strode to the front. She actually opened the coffin and plucked the violin from where it had been tucked up close to Shamengwa. Father Cassidy fell silent as she brandished the instrument at him. He then saw Seraph/Mooshum waving from the second pew, and his jaw fell slack. Clemence looked like she might take a swing at the priest, but instead she gave the violin to Geraldine, who rose and stood before the parish, motioning to the paralyzed Father Cassidy that it was now her turn to speak.

“A few months ago, Uncle told me that when he died, I was to give this violin to Corwin Peace,” Geraldine told everyone, “and so I’m offering it to him now. And I’ve already asked will he play us one of Shamengwa’s favorites today?”

Mooshum was still waving and smiling at Father Cassidy, who’d staggered backwards and sat down against the nave wall, wiping his head.

Corwin had been sitting in the rear of the church and now he walked up to the front, his shoulders hunched, hands shoved in his pockets. He was extremely sad. The sorrow in his face surprised me. It made me uneasy to see such a direct show of emotion from one who had been so volatile. But Corwin’s feelings seemed directed once he took up the fiddle and began to play a chanson everyone knew, a song typical of our people because it began tender and slow, then broke into a wild strangeness that pricked our pulses and strained our breath. Corwin played with passion, if imprecision, and there was enough of the old man’s energy in his music and stance so that by the time he finished everybody was in tears.

Then came the shock. Amid the rustling of Kleenex, the dabbing of eyes and discreet nose blowing, Corwin stood, gazing into the coffin at his teacher, the violin dangling from one hand down at his side. Beside the coffin there was an ornate communion rail. Corwin raised the violin high and smashed it on the rail, once, twice, three times to do the job right. Father Cassidy squeezed his eyes shut. His lips moved in prayer. I was in the front pew and suddenly I found myself standing next to Corwin. I’d jumped from my seat as though I’d been prepared for this type of thing. I grasped Corwin’s arm as he laid the violin carefully back into the coffin beside Shamengwa, but then I let him go, for I recognized that his gesture was spent. He walked to his place at the back. My focus changed from Corwin to the violin itself because I saw, sticking from its smashed wood, a small roll of paper. I drew the paper out. The stuff was old and covered with an antique, stiff flow of writing. Wholly shaken, Father Cassidy began the service all over again. People sat still, dazzled by the entertainment of it all. I fit the roll of paper into my jacket pocket and returned to my seat. I didn’t exactly forget to read the paper — there was just so much happening directly after the funeral, what with the windy burial and then the six-kinds-of-frybread supper in the Knights of Columbus hall, that I didn’t get the chance to sit still and concentrate. It was evening and I was at home, finally sitting in my chair with a bright lamp turned on behind me, so the radiance fell across my shoulder, before I finally read what had been hidden in the violin all these years.

Letter

I, HENRI BAPTISTE Parentheau, also known as Henri Peace, leave to my brother, Lafayette, this message, being a history of the violin which on this day of Our Lord August 20, 1888, I send out onto the waters to find him.

A recapitulation to begin with: Having read of LaFountaine’s mission to the Iroquois, during which that priest avoided having his liver plucked out before his eyes by nimbly playing the flute, our own Father Jasprine thought it wise to learn to play a musical instrument before he ventured forth into the wastelands past Lac du Bois. Therefore, he set off with music his protection. He studied and brought along his violin, a noble instrument, which he played less than adequately. If the truth were told, he’d have done better not to impose his slight talents on the Ojibwe. Yet, as he died young and left the violin to his altar boy, my father, I should say nothing against good Jasprine. I should, instead, be grateful for the joys his violin afforded my family. I should be happy in the happy hours that my father spent tuning and then playing our beauty, our darling, and in the devotion that my brother and I eagerly gave to her. Yet, as things ended so hard between my brother and myself because of the instrument, I find myself wishing we never knew the violin, that she never had been brought before us, that I’d never played its music or understood her voice. For when my father died, he left the fiddle to both my brother Lafayette and me, with the stipulation that were we unable to decide which should have it, then we were to race for it as true sons of the great waters, by paddling our canoes.

When my brother and I heard this declaration read, we said nothing. There was nothing to say, for as much as it was true we loved each other, we both wanted that violin. Each of us had given years of practice, each of us had whispered into her hollow our despairs and taken hold of her joys. That violin had soothed our wild hours, courted our wives. But now we were done with the passing of it back and forth. And if she had to belong to one of us two brothers, I determined it would be myself.

Two nights before we took our canoes out, I conceived of a sure plan. When the moon slipped behind clouds and the world was dark, I went out to the shore with a pannikin of heated pitch. I decided to interfere with Lafayette’s balance. Our canoes were so carefully constructed that each side matched ounce for ounce. By thickening the seams on only one side with a heavy application of pitch, I’d throw off my brother’s paddle stroke — enough, I was sure, to give me a telling advantage.

Ours is a wide lake and full of islands. It is haunted by birds who utter sarcastic or sorrowing human cries. One loses sight of others easily and sound travels, skewed, bouncing off the rock cliffs. There are caves containing the spirits of little children, flying skeletons, floating bogs, and black moods of weather. We love it well, and we know its secrets, in some part at least. Not all. And not the secret that I put in motion.

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.