“A fiercely imagined tale of love and loss, a story that manages to transform tragedy into comic redemption, sorrow into heroic survival.”
—New York Times
“[A] beguiling family saga….A captivating jigsaw puzzle of longing and loss whose pieces form an unforgettable image of contemporary Native American life.”
A New York Times bestselling author, a Pulitzer Prize finalist, and winner of the National Book Critics Circle Award, Louise Erdrich is an acclaimed chronicler of life and love, mystery and magic within the Native American community. A hauntingly beautiful story of a mysterious woman who enters the lives of two families and changes them forever, Erdrich’s classic novel, The Antelope Wife, has enthralled readers for more than a decade with its powerful themes of fate and ancestry, tragedy and salvation. Now the acclaimed author of Shadow Tag and The Plague of Doves has radically revised this already masterful work, adding a new richness to the characters and story while bringing its major themes into sharper focus, as it ingeniously illuminates the effect of history on families and cultures, Ojibwe and white.
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The Antelope Wife extends the branches of the families who populate Louise Erdrich's earlier novels, and once again, her unsentimental, unsparing writing captures the Native American sense of despair, magic, and humor. Rooted in myth and set in contemporary Minneapolis, this poetic and haunting story spans a century, at the center of which is a mysterious and graceful woman known as the Antelope Wife. Elusive, silent, and bearing a mystical link to nature, she embodies a complicated quest for love and survival that impacts lives in unpredictable ways. Her tale is an unforgettable tapestry of ancestry, fate, harrowing tragedy, and redemption, that seems at once modern and eternal.Review:
As Louise Erdrich's magical novel The Antelope Wife opens, a cavalry soldier pursues a dog with an Ojibwa baby strapped to its back. For days he follows them through "the vast carcass of the world west of the Otter Tail River" until finally the dog allows him to approach and handle the child--a girl, not yet weaned, who latches onto his nipples until, miraculously, they begin to give milk. In another kind of novel, this might be a metaphor. But this is the fictional world of Louise Erdrich, where myth is woven deeply into the fabric of everyday life. A famous cake tastes of grief, joy, and the secret ingredient: fear. The tie that binds the antelope wife to her husband is, literally, the strip of sweetheart calico he used to yoke her hand to his. Legendary characters sew beads into colorful patterns, and these patterns become the design of the novel itself.
The Antelope Wife centers on the Roys and the Shawanos, two closely related Ojibwa families living in modern-day Gakahbekong, or Minneapolis. Urban Indians of mixed blood, they are "scattered like beads off a necklace and put back together in new patterns, new strings," and Erdrich follows them through two failed marriages, a "kamikaze" wedding, and several tragic deaths. But the plot also loops and circles back, drawing in a 100-year-old murder, a burned Ojibwa village, a lost baby, several dead twins, and another baby nursed on father's milk.
The familiar Erdrich themes are all here--love, family, history, and the complex ways these forces both bind and separate the generations, stitching them into patterns as complex as beadwork. At least initially, this swirl of characters, narratives, time lines, and connections can take a little getting used to; several of the story lines do not match up until the book's conclusion. But in the end, Erdrich's lovely, lyrical language prevails, and the reader succumbs to the book's own dreamlike logic. As The Antelope Wife closes, Erdrich steps back to address readers directly for the first time, and the moment expands the book's elaborate patterns well beyond the confines of its pages. "Who is beading us?" she asks. "Who are you and who am I, the beader or the bit of colored glass sewn onto the fabric of the earth?... We stand on tiptoe, trying to see over the edge, and only catch a glimpse of the next bead on the string, and the woman's hand moving, one day, the next, and the needle flashing over the horizon." -- Mary Park, editor
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