Perma Red

Perma Red

by Debra Magpie Earling

Narrated by Katie Anvil Rich, Jason Grasl

Unabridged — 8 hours, 42 minutes

Perma Red

Perma Red

by Debra Magpie Earling

Narrated by Katie Anvil Rich, Jason Grasl

Unabridged — 8 hours, 42 minutes

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Overview

On the Flathead Indian Reservation, summer is ending, and Louise White Elk is determined to forge her own path. Raised by her Grandmother Magpie after the death of her mother, Louise and her younger sister have grown up into the harsh social and physical landscape of western Montana in the 1940s, where Native people endure boarding schools and life far from home. As she approaches adulthood, Louise hopes to create an independent life for herself and an improved future for her family-but three persistent men have other plans.



Since childhood, Louise has been pursued by Baptiste Yellow Knife, feared not only for his rough-and-tumble ways, but also for the preternatural gifts of his bloodline. Baptiste's rival is his cousin, Charlie Kicking Woman: a man caught between worlds, torn between his duty as a tribal officer and his fascination with Louise. And then there is Harvey Stoner. The white real estate mogul can offer Louise her wildest dreams of freedom, but at what cost?



As tensions mount, Louise finds herself trying to outrun the bitter clutches of winter and the will of powerful men, facing choices that will alter her life-and end another's-forever.

Editorial Reviews

bn.com

Barnes & Noble Discover Great New Writers
In Perma Red, Montana's Flathead Indian Reservation in the 1940s comes alive -- a virtual vortex of desire, magic, and danger. At its center is Louise White Elk, a young half-breed with fine bones and a tough spirit, treacherously flirting with love and trouble. Louise spends day and night teasing three very different men: Baptiste Yellow Knife, a full-blooded Indian and son of a snake handler, fluent in his native language and rituals, and possessed of a legendary bad temper and a taste for booze. Man No. 2 is Charlie Kicking Woman, a reservation cop torn between his duty to the white man's world and to his own; and the third is Harvey Stoner, a well-to-do out-of-towner who believes everything has a price. All three desperately want to own Louise, and for brief moments, she lets them. But when she pulls away, their desire, their egos, and their guilt drive them to commit acts of rage with consequences for which no one is prepared.

Native American Debra Magpie Earling's debut bears witness to her culture and brings a personal dimension to the consequences of ignoring or accepting traditional Indian ways in the modern world. In Perma Red, she casts a compassionate light on the fragile relationship between love and hate, as her characters learn the value of questioning the difference between intention and desire. (Summer 2002 Selection)

Sherman Alexie

This book was great in all its pieces. In totality,it's epic.

Publishers Weekly

Earling follows the literary trail blazed by Louise Erdrich in her poignant if familiar debut novel, which explores life in the tiny town of Perma, Mont., through the adventures of the restless Louise White elk as she struggles with a problematic passion for irresistible bad boy Baptiste Yellow Knife. The tempestuous duo's love-hate relationship is complicated by Charlie Kicking Woman, the local police officer who admires Louise from afar even as she breaks up his marriage. The other romantic subplots are less captivating - Louise's affair with the reservation's white real estate mogul, Harvey Stoner, is contrived and stilted, and Baptiste's attempts to arouse Louise's jealousy are even more forgettable. Narrated alternately by Louise, Baptiste and Charlie, the plot veers between hallucinatory, poetic descriptions of reservation life and tumultuous romantic encounters as Louise and Baptiste conduct their erotic duel, until the passions finally give way to murder. When Harvey decides to attack Baptiste, Louise and Charlie are left to make their own pivotal choices. earling offers first-rate characterizations, and she does an equally fine job portraying tribal life in the Flatland Nation. The predictable and disorganized plot makes this book less memorable than it might have been, but there's little doubt that earling has considerable potential. (June) Copyright 2002 Cahners Business Information.

Library Journal

In this beautiful first novel, set on the Flathead Reservation of Montana in the 1940s, Earling traces the youth and young adulthood of Louise White Elk and the men who try to win her heart and soul. A red-headed, mixed-blood temptress, Louise always has a man or two, none of whom is any good for her. Throughout, a third-person narrative alternates with a first-person account by Charlie Kicking Woman, the police officer who tracked down Louise when she ran away repeatedly as a child but whose interest in the woman is less than professional. Louise is also entangled with Baptiste Yellow Knife, who adheres to the old ways and resists all contact with whites and authorities. The abject poverty is keenly felt, as is the pride that allows one to prevail and the resignation that keeps one from aspiring to more. This novel will stand proudly among its peers in Native American literature and should have strong appeal to fans of Louise Erdrich. Debbie Bogenschutz, Cincinnati State Technical & Community Coll. Copyright 2002 Cahners Business Information.

From the Publisher

Winner of the American Book Award, the Reading the West Book Award, and the Western Writers of American Spur Award for Best Novel of the West

 

Perma Red intertwines land and people with the invisible forces of society, nature, and what may exist beyond that, using exquisite sentences that turn into page after page of unforgettable rhythm.”—Elissa Washuta, The Atlantic, The Great American Novels in the Last 100 Years

Perma Red has no equal. You will be mesmerized by the poetically intimate prose, the realistically graphic details of life on a Montana Indian reservation, and the humor, love and pain you’ll experience through these richly drawn, honest characters. As another of Montana’s greatest writers, James Welch, put it: Perma Red ‘borders on mythic . . . a wonder-filled gift to all.’”—Mark Gibbons, NPR

“Boldly drawn and passionate.”—Louise Erdrich, author of The Sentence

“Transcendent, powerful, and has a gravity all its own.”—Jamie Ford, Today.com 

“Spare, tough-minded and big hearted.”—USA Today

“[Perma Red has] beautiful language, complex characters, a legitimate and earned sense of where you are in the story. It’s also a gnarly, unflinching look at violence against women. The writing is lovely, emotionally resonant and filled to the brim with depth

and pathos for the Flathead and the people who live there. But it’s a novel of

pain and sorrow first and foremost, and it’s a pain and sorrow that looks a lot like it has for the last half millenia.”—Thomas Plank, Missoulian

“Dreamy and lyrical, frequently achieving a shimmering beauty.”The Oregonian

“A fever of a story, keenly fighting for air and answers.”San Francisco Chronicle

“It’s not just erotic desire that [Earling] does so well. . . . Louise’s world is one in which all the senses are always on hyper-alert. . . . This young girl’s struggle to save her own life makes for a novel that has you on hyper-alert as you read: alive, alive to the world it conjures.”—Alan Cheuse, NPR

“Haunting and memorable . . . Earling’s deliberate pacing gives an otherworldly feel to the grim circumstances of the time, and makes real the hypnotic effect of this slim, green-eyed woman on the men around her.”Seattle Times

“Beautifully written . . . Establishes Earling as the literary heir to great American Indian writers such as James Welch and Louise Erdrich.”—Minneapolis Star Tribune

“A new writer comes straight at us out of the West, bypassing the conscious mind in describing her world of Indian reservations, so that we almost smell that world before we understand it. . . . [Earling’s] writing is the most physical I have read in a long time. . . . Verbs and adjectives dance in new configurations. All this and plot too.”—Los Angeles Times

“What a story! Vivid and startling, this heartbreaking novel tells the story of Louise White Elk, a wild and unattainable girl growing to womanhood on the Flathead Reservation in Northwest Montana. Beautiful but crushed by poverty and the sorrow inflicted by the clash of cultures, harsh circumstance, and the friction between love and power, Louise is pursued by several men. A wealthy white land speculator and a rodeo cowboy tempt her. The tribal policeman who tries repeatedly to save her cannot subdue his tainted motives. But it is the violent, unpredictable Baptiste Yellowknife, with his connection to the old ways, who holds great power over her. Though she uses each to help her find her way, no one and nothing is simple here. These complex characters and the rough beauty of the Flathead Reservation will stay with you long after you close the cover.”—Keelin Kane, Next Chapter Books, St. Paul, MN

"From the very first sentence of Perma Red by Debra Magpie Earling, Louise White Elk’s struggle is unrelenting, swallowing readers into a story that shocks, and somehow, brims with complicated, raw hope."—Maggie Doherty, Flathead Beacon

"I was captivated by Louise While Elk as she struggles to retain her Indigenous identity and ways while trying to break free from all the barriers and biases against women and Native peoples in 1940s Montana.”—Jennifer Wood, East City Bookshop, Washington, DC 

“Louise White Elk grows up on the Flathead Indian Reservation in Montana. Her experiences are defined by the lack of opportunities, and it’s a rough ride filled with many challenges. What are the best choices when none of them are good? It’s great that Milkweed is bringing back this twenty-year-old novel in a new edition. It’s just as timely as when it was written.”—Todd Miller, Arcadia Books, Spring Green, WI

“Earling is a talent to treasure. . . . Beauty lies in [her] writing. Her words are spare, like the landscape and the bleak hearts of those who judge and torment Louise. Her words are sharp, biting, like the snakes that slither through the tale. Her words are honed to bare Louise's wounds.”—Billings Gazette

“A haunting tale of persecution, brutality and prejudice . . . paint[ing] a powerful picture of man’s inhumanity to man—one as dark and uncaring as Montana’s midnight landscapes.”—Texas Observer

“Superb . . . A love story of uncommon depth and power, a love story that is as painful as it is transcendent, a love story in which the lovers . . . are unwilling to diminish themselves in the act of joining together but are equally unable to turn away.”—Booklist

“This is a book I’ve read again and again, and each time I do, Earling’s words are a treasured and welcomed power.”—Sasha LaPointe, Publishers Weekly, “10 Books by Native Authors That Left Their Mark on Me”

“Poignant . . . Earling offers first-rate characterizations, and she does an equally fine job portraying tribal life in the Flatland Nation.”—Publishers Weekly

Perma Red is a startlingly spiritual novel of the lives and loves and heartbreak on a Montana Indian reservation. The characters, especially the strangely destructive lovers, Louise and Baptiste, are so sharply drawn that they will bring tears to your eyes. And the landscape, the richly detailed backdrop against which these characters play out their roles, adds a dimension that borders on mythic. Debra Magpie Earling is a truly gifted writer, and Perma Red is a wonder-filled gift to all of us.”—James Welch, author of Fools Crow

“In the deep wells of compassion for her people, and with her stunning eye for the rituals of their existence, Earling reminds us that the greatest writing is always about matters of the human heart.”—Larry Brown, author of Joe

Perma Red is a terrific novel, tough-minded, gritty, and powerful . . . rich with stories of such elemental truth that they have the resonance of sacred songs, the lingering effect of legends. I haven’t read a novel that affected me this much since I first encountered Leslie Silko’s Ceremony.”—James Crumley, author of The Last Good Kiss

“With Perma Red, Debra Magpie Earling finally steps forward after two decades and delivers a book as permanently beautiful as the Montana landscape itself. I find it hard, if not impossible, to shake Earling’s book from my mind. To paraphrase another Big Sky writer, Norman Maclean, I am haunted by words.”—David Abrams, author of Fobbit

Product Details

BN ID: 2940177989143
Publisher: Tantor Audio
Publication date: 05/09/2023
Edition description: Unabridged

Read an Excerpt

The Old Marriage

When Louise White Elk was nine, Baptiste Yellow Knife blew a fine powder in her face and told her she would disappear. She sneezed until her nose bled, and Baptiste gave her his handkerchief. She had to lie down on the school floor and tilt back her head and even then it wouldn't stop. She felt he had opened the river to her heart. The cloth he had given her was wet with her blood. She felt hot and sleepy. Sister Thomas Bernard pulled her up and told her to go to the bathroom and wash her face. Sister pinched the bridge of Louise's nose. Louise kept the handkerchief pressed to her face, embarrassed by all the attention she was getting. She could feel her blood cool in slow streams between her fingers. She remembered at one point Baptiste Yellow Knife had knelt down beside her. Her head was empty. She imagined the veins in her temples quivering. Her skin draining color. Her face glowing, a candlelit egg. Suffering. A saint. Awkward Baptiste. Pigeon-toed and dusty Baptiste was kneeling beside her cradling her head with his cool, dry hands, his voice tickling her ears. He was leaning over her, whispering to her, whispering a story. His voice was in her ear. She felt Sister Bernard pull Baptiste away from her. The back of her head danced with silver stars and Louise fell back into dreaming, a snagged fish released again to water.

Grandma squeezed her hand as she blinked awake. Louise's hands were cold. "We got this back," Grandma said. She held up the handkerchief that Baptiste had given her. It was crumpled, stiff and black with her blood. Louise didn't understand at first and then she remembered Baptiste standing close as the school nurse lifted her into the car. He shyly asked the nurse for his handkerchief back. As they pulled out of the school yard, Baptiste smiled at Louise and lifted his bloody handkerchief up so she could see all he had taken from her.

Her grandmother had told her to stay away from him. He was the son of Dirty Swallow, the rattlesnake woman. Baptiste Yellow Knife's mother could direct the rattlers to do her bidding. Last summer a rattler had tapped the back of her grandmother's skirt as she sat on the stick-game lines. Her grandmother had won too much of Dirty Swallow's money, and she wanted it back. Now the son of Dirty Swallow wanted something from Louise.

There was something about Baptiste. Baptiste was from the old ways and everybody hoped he would be different from his mother. He knew things without being told. He knew long before anyone else when the first camas had sprouted. He would inform his mother the night before the flower would appear and he was always right. He knew stories no one but the eldest elder knew but he knew the stories without being told. "He knows these things," her grandmother had said, "because the spirits tell him. He is the last of our old ones, and he is dangerous."

On the day Louise's great-grandmother had died Baptiste foretold her death. It was in the spring, on a day so clear clouds faded overhead like wide ghosts. Louise's great-grandfather was branding horses in the high field and, she remembered, Baptiste had come over with his grandfather to watch. Louise was six years old at the time but she still remembered Baptiste, because it was one of the few times she had seen him out of school then. But she remembered him most because of what had happened that day. And that day Louise sat up on the hillside with her mother, her grandmother, and Old Macheese-her great-grandmother. Louise thought at first Baptiste was frightened of Old Macheese and had chosen to sit away from her.

Old Macheese had survived everything, even smallpox, but her grandmother said her face had always been pitted. Louise could still remember Old Macheese's face, places where disease had died beneath her skin, bruised places where the blood had pooled for good. Old Macheese liked to rub her knuckles down Louise's spine, liked to laugh at her when she tripped or cried, whenever she hurt herself. And after the old woman died Louise's grandmother had told her Old Macheese was just that way, mean.

Louise had wondered if there was something wrong with Baptiste that day, because he stared at her, and even when she made faces at him, he did not stop his watching. She had heard stories about him, how he could see and hear things other Indians could not, how his mother had the rattlesnake power. He sat away from the others, rocking back and forth, digging his slender fingers deep into the black soil while his grandfather worked. He wasn't called down to the corral like the other boys. His grandfather had let him be alone and quiet on the hill.

Old Macheese had just started to tell a story when Baptiste had stood up, so thin the dirty seat of his pants hung almost to his knees. Old Macheese spoke up, saying he probably had tuberculosis. He wore a belt that had once been his grandfather's horse bridle. He had two white splotches clouding his face and still he was the darkest Indian Louise had ever seen, a beaver-dark boy who stood with a strange certainty Louise recognized even then as trouble. When his grandfather saw Baptiste stand, he slipped the knot off the colt he was holding and headed fast toward Baptiste. Louise remembered the old man had leaned over Baptiste, listening and nodding. But Louise could not hear Baptiste.

"Baptiste has seen a salamander," he called, "a lizard turn red."

Louise's great-grandfather, Good Mark, shut the corral gate and made his way up to Baptiste. Louise stood silent beside her grandmother. The other men had stopped working and had turned to see what was troubling Baptiste. The horses crowded one corner of the corral as the workers gathered at the bottom of the hill. The men crouched suddenly to the ground. They were patting the dirt, searching, feeling for something. She could see Good Mark weaving his fingers through the faded grass, his white braids were tucked in his belt. Louise's mother shook her head, then cupped her hands together on top of her head. Louise's grandmother tapped Louise. "Look for a lizard," she had told Louise half-whispering. "See if you can find the lizard."

Louise got down on her hands and knees with the men. She combed the grass with her fingertips. She picked up a branch and brushed the ground but she saw nothing. Baptiste Yellow Knife crept up behind her and Louise looked up to see his knife-bladed hair, his dark face. "You won't find it," he said. She pushed at his feet, but he did not budge. "Move," she said. She didn't like being told by Baptiste, a boy she barely knew, that she couldn't do something. "You're in my way," she told him. She turned over stones, picked at the sage and grass, looking. She glanced at Baptiste and noticed his watching was dim. His eyes lazy. His lashes flickered and she saw the glare of black irises swirling back in his head, and then only the whites of his eyes, spooky, almost blue. "It won't do no good," he said, his dizzy eyes closed. "Someone will die." Louise saw the dirt in the slim cuff of Baptiste Yellow Knife's pants. She saw clouds bleaching to wind, a haze of dust changing light like silt changes water. She saw her great-grandmother standing on the hill, and then Old Macheese was falling back, falling, while the wind lifted her olive scarf from her head.

Louise asked her grandmother how she had gotten the handkerchief back. How did the old woman manage to snatch back her blood from Baptiste Yellow Knife's tight fist, his ugly smile? Grandma didn't answer her. Louise imagined many things and settled on Sister Bernard and her hard thumping knuckles. She wouldn't let the boys play with dead rattlers or poke at the mouths of dead birds with sticks. And she wouldn't let Baptiste keep a blood-soaked handkerchief.

Louise had a dream that followed her from a long night into morning. It was a familiar dream. She heard a Salish voice, neither a man nor a woman's voice. The voice did not speak to her but to the dream she cupped in her small hands like a million water-colored glass beads.

It is cold. Snakes sleep in deep holes trapped by snow. We tell our stories now. Rattlers are quiet. It is so far back your blood smells like oil in the tongues of your grandmothers. The snow is frozen so hard it can bruise. The snowdrifts are razor-edged. Snow shines. We're locked here. Outside Grandma's house, a naked man stands near a red fire. His face the face of a woman, smooth and deep-planed. His back is lean with ribs. His hips are narrow. Flames light high on the roof of Grandma's house. Base-blue tongues of flame burn buckskin tamarack. Black wood dust to white wood ash. The naked man blows through teeth, his cracked lips whistling to fire. His whistle calls a great wind up from snow.

Firelight becomes one small candle. It flickers, then fails white, then fails, fails white to smoke. Steady wind scatters white ash to thin choking sheets of hot dust. Snow and timber powder, hot and cold. The man stands before the white stars, the endless snow.

His white light is turning to morning.

Louise never asked her grandmother about the handkerchief again. She knew who had brought it back. She remembered stories of her great-grandfather: the secret training rituals of medicine people sent to find a single pin in a night that pressed to forty below, one pin dropped deep in snow, miles from where they stood, shivering and naked. Her grandfather had saved her. Somehow he had picked her blood from the dark hands of Dirty Swallow. And she knew it had been at a great price. She would never talk to Baptiste Yellow Knife again.

When Louise was fourteen, Baptiste snuck up behind her and slipped a rattler's tail in her hand with the slick skill of a small wind passing. She wasn't sure what to do with it. She stared at it for a long while, then dropped it deep into her pocket, hoping it would fall out of the hole she hadn't mended. But the tail became a power she was afraid of, a feeling she had never had before.

"Why didn't you just get rid of that when he gave it to you?" her grandmother asked.

Louise didn't answer. She looked at her feet as her grandmother was talking. She didn't know how to tell her grandma that once the rattle had gotten into her pocket, it began moving, as though the whole snake was still attached. She felt the rattle twitching on her leg, like a new muscle, and she was afraid of it in a way that made her strong.

Grandma made Louise bury the rattle on the hill and mark the spot with three red-colored rocks. "That way we can avoid it," she said. Louise took her time burying the rattle. She found the nicest spot on the hill under the shade of a juniper tree. She dug a deep hole that was sweet with the smell of new roots. She carefully wrapped the rattle with a glove she had worn thin to fool it into feeling she was near. Then she covered the hole up as fast as she could with the sweep of her arms and the clawing cup of her hands. She walked slowly away from the small rock mound, pacing her steps, careful not to look back and reveal any desire to stay.

All that night dreams swallowed her. She was falling. Tall grass shot up around her and whispered with heat. Smooth flat rocks near Magpie Hill were shining with sun. She felt the warm breath of her mother and curled down into a dark sleep.

Louise found a power in ignoring Baptiste Yellow Knife. He no longer existed for her. She pretended she did not hear or see him. She stopped listening for the whisper of scales beneath the thin slat steps of her grandmother's house. He had less presence for her than the ghost of her sister's dead cat. Sleep was good, and she began to feel at ease. When he came close behind her from any direction, she sidestepped him and talked as if he wasn't there. The only time Baptiste could secure her attention was when he rode his horse Champagne. He had even named the horse for her when he had overheard her say she wanted to try champagne. When she had stopped to pet the horse, Baptiste began telling everyone at the Ursulines' that he was going to marry Louise. "Stay away from her," he would say. "She belongs to me." The more she denied him, the more he would follow her. She would look for him, she told herself, so she could stay clear of him.

At the stick games in Dixon she hid beneath Charlie Kicking Woman's tribal-police car for almost an hour with everybody staring at her, because Melveena Big Beaver had told her Baptiste was looking for her. She lay half under the engine-hot car in a stain of oil that ruined her good dress, only to find Baptiste walked past her holding hands with Hemaucus Three Dresses. When Louise stood to shake the dry grass from her hair, Baptiste did not look at her or even shift a glance her way. Only his mother, Dirty Swallow, eyed Louise. Dirty Swallow sat in the dirt of the stick-game line without a blanket. Her eyes were small and steady and though she kept playing the game she kept her eyes on Louise, opened her palm to reveal the black-rimmed bone.

Baptiste was animal and dark and when he smiled at Hemaucus he almost looked handsome. Louise felt relieved and pulled breath deep into her lungs, but the moment of relief came to her with the feeling she had lost something. She lit a cigarette and tried to attend the scar of juniper trees near the road. She looked over at the both of them. Baptiste rubbed the back of Hemaucus's brown hand on the side of his thigh then led her to the stick-game line. Louise saw the two of them smiling at each other.

She didn't know how to feel. She wondered if everyone was feeling sorry for her because Baptiste Yellow Knife had managed to find someone new, someone better. She knew she didn't want Baptiste Yellow Knife and his attentions, had run from him for years. She had dodged his every whisper, averted his every glance. She stood next to the dusty trees feeling dry-handed. The oil stain bloomed on her dress. Louise thought the people were looking at her because they were thinking she should be jealous of Hemaucus. And in the stinging light of a summer day passing, Hemaucus's hair hung heavy, so shiny it seemed to be water. Hemaucus was an older woman but she quieted her laughter with her hands when she looked at Baptiste. Her waist was full and her smooth arms were tight-lined with muscle.

Louise felt small. She could feel the hard lines of her ribs. Her stomach was sinking and hollow. The bones of her pelvis caught the thin fabric of her dress. She had heard the old women telling her grandmother to watch her. "Make sure she hasn't got TB," they said. And, standing in the field, the grass white and brittle at her ankles, she felt her big-boned knees. She felt tired and foolish. Maybe she had fooled herself into thinking she looked better than she did. When Melveena Big Beaver walked by with her sister Mavis, when they both looked at Louise and turned their heads covering their smiles, Louise kicked dust at them.

--from Perma Red by Debra Magpie Earling, Copyright © June 2002, The Putnam Publishing Group, a member of Penguin Putnam, Inc., used by permission.

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