A story of life, death, love, and the ties that bind us not only to what has been, but what will be
After burning up the blacktop in New Mexico with The Fast Red Road and rewriting Indian history on the Great Plains with The Bird is Gone, Stephen Graham Jones now takes us to Montana. Set on a Blackfeet Indian reservation, Ledfeather lays bare the life of one Indian boy, Doby Saxon: his near-death experience, his suicide attempts, his brief glimpse of victory, and the unnecessary death of one of his best friends.
But through Doby emerges a connection to the past, to an Indian Agent who served the United States government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian agent have impacted the lives of generations of Blackfeet Indians—and the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history collapsing in on him.
Jones’s beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life.
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Stephen Graham Jones is a Blackfoot Native American and author of numerous novels, including the award-winning FC2 novels The Fast Red Road and The Bird is Gone, and one award-winning short story collection, Bleed Into Me. He is the Ivena Baldwin professor of English at the University of Colorado Boulder.
Stephen Graham Jones is the author of five novels, including the award-winning FC2 novels The Fast Red Road and The Bird is Gone, and one award-winning short story collection, Bleed Into Me. He teaches fiction at the University of Colorado at Boulder.
Instead of pulling the door shut, too, that kid, that Doby Saxon whose mom had married that crazy Yellowtail who didn't even have an Indian name anymore, he just stood there like he was waiting for permission to come in, waiting for me or Junior to say to him it was okay if he had the snow crusted all over him still, that he could stomp it off in here if he wanted, that we'd mop it up later.
But then I looked to what he was looking at.
It was the back door, all the way through the dining room.
Because the front door was open, the back door was rattling, like somebody was trying to get in, or had just left. I'm not even sure the kid knew we could see him.
I started to say something but Junior held his hand up to me flat and sudden, his palm to the ground, a cut off motion I'd only ever seen him use once before, in a bar over in Havre, right before one cowboy stabbed another cowboy in the neck with some shiny kind of cow tool I'd never seen.
I sucked my cheeks in, went stiff, ready to walk away like we'd had to then-because stabbed-in-the-neck cowboys aren't something an Indian can run away from in Montana-and didn't even look up to Junior when he said whatever he said to the kid. It was Indian, two words maybe, or one long one, and I was pretty sure Junior only knew four or five all told, most of them having to do with cigarettes, because sometimes that's the only way to get an old man to give you one, is to ask right.
What he said now, though, I don't think it had anything to do with cigarettes. I asked him later what it translated out to and he said he didn't remember saying it, but he was lying. I mean, I could go down to the old people's home in Browning right now and, if I said whatever he said that night to Doby Saxon, I think every wrinkled old face in that room, that hasn't even recognized their own kids for twenty years, every one of them would turn to me, to see if this white woman was really saying that, and where did she hear it?
And did the kid understand what Junior said?
I don't know.
With Malory Sainte for a mom and a Yellowtail dad, he probably just knows cartoons and whatever you can learn from the label of a beer bottle. The only Indian they would have talked around him would have been about car starters and pawn stubs.
The kid did at least turn to the sound of Junior's voice, and that's when I saw that his truck wasn't parked out on the curb, or across the street. The street was empty.
My face went hot and for the thousandth time I was glad I'd never had any kids on the reservation, because this is what happens. They drive off every road they can, and then, because it hasn't started hurting yet, whichever one can still walk does, to the nearest light, his face packed with windshield glass.
But then I was running to him like he was my own son anyway, like they all were, and I was pulling him through the door, trying to get all the snow off at once, see where he was broken.
When I looked up to Junior, instead of calling the ambulance he was looking where the kid had been looking, at the back door, like some other Indian had just walked through, out, and he was trying to remember who it had been but it had been too long already.
He came back to me just as lost as the kid, then nodded slow like he does, pulled the phone off its rack.
This is how a night can start to last forever up here.
Inside of two minutes we had the table pulled out from one of the booths and the two bench seats pushed together, and the kid's chin wasn't even shaking, and that's not good.
"Where are they?" I said to him, close to his face, trying to give him all the warmth I'd ever had, all the bodyheat he needed, and he focused his eyes down on me like he was trying to make sense of my words, or just be sure I was real, but then he went blank again, just staring through me, and over the next hour and a half his clothes finally started to melt, and a pool formed around him, for us to mop up later.
It wasn't just snow, though.
The seats are orange so it was hard to tell at first, and the floor's just that varnished wood you can't tell anything with, but when Junior dipped his other dish towel down into the meltoff, it came back red, bloody, like that one side of the kid's face.
"Hold on," I said to him, "we called, they're coming. You made it."
This was the Blackfeet Reservation on a Saturday night in late November, though.
By the time the ambulance got there, it was Thanksgiving.
I told him it was my day off, thanks.
He asked back what I was doing up there then?
I shrugged, lifted my chin hey to a nurse I knew.
The truth is that I was already doing a test, on my own time. I wanted to see if Earl Two Jobs-he'd made the name up himself-was a real Yellowtail like everybody said, if he was going to try to sneak into the hospital to see his only son, who was probably dying from exposure. I didn't ask, but I was pretty sure Earl had a couple of bench warrants out on him. But game wardens don't serve bench warrants.
Why I wanted to see him had to do with two elk racks that had shown up down in Great Falls over the summer. The warden down there had sent me the pictures because he knew that tines don't get thick like that just on state grass. What it takes for postcard racks like he'd seized was some kind of preserve, the National Park kind. Glacier. And this time, finally, the horns had been sawed right out of the skull, so nobody was going to be saying they were sheds, and the way I knew they weren't taken out in Landslide or some other part of Region 1, which is year-round, is that I have the two cut-open skulls in the vented box behind the office. More than that, I knew those two old bulls, had been glassing them since May.
When the fires hit Tar Ridge in late July, up past Volly's, almost all the way to that second lake up there, the bulls had walked down the Line and crossed the road into Boulder, and Boulder's off-limits all the time, unless you have twelve thousand dollars and a tribal guide. Unless you're white, basically.
I know the elk crossed into Boulder because that's where I found them, right there in Swiftcurrent Creek.
Somebody'd shot them from the road then hooked chains to them, dragged them halfway up onto the bank and gone to work on them with a chainsaw, just taking the hindquarters and the horns and the eyeteeth, probably driving away without any headlights even, because all the old poachers up here, they don't need lights to know where the roads are.
...
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Paperback. Zustand: New. After burning up the blacktop in New Mexico with The Fast Red Road and rewriting Indian history on the Great Plains with The Bird is Gone, Stephen Graham Jones now takes us to Montana. Set on a Blackfeet Indian reservation, the life of one Indian boy, Doby Saxon, is laid bare through the eyes of those who witness it: his near-death experience, his suicide attempts, his brief glimpse of victory, and the unnecessary death of one of his best friends. But through Doby there emerges a connection to the past, to an Indian Agent who served the United States Government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian Agent have impacted the lives of generations of Blackfeet Indians. And the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history hurtling towards him. Jones's beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life. Bestandsnummer des Verkäufers LU-9781573661461
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Paperback. Zustand: New. After burning up the blacktop in New Mexico with The Fast Red Road and rewriting Indian history on the Great Plains with The Bird is Gone, Stephen Graham Jones now takes us to Montana. Set on a Blackfeet Indian reservation, the life of one Indian boy, Doby Saxon, is laid bare through the eyes of those who witness it: his near-death experience, his suicide attempts, his brief glimpse of victory, and the unnecessary death of one of his best friends. But through Doby there emerges a connection to the past, to an Indian Agent who served the United States Government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian Agent have impacted the lives of generations of Blackfeet Indians. And the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history hurtling towards him. Jones's beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life. Bestandsnummer des Verkäufers LU-9781573661461
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