but from a fast-moving plot.”
The Sunday Oregonian
Also by Larry Watson
In a Dark Time Leaving Dakota Orchard Laura White Crosses Justice
For Susan
Prologue
FROM the summer of my twelfth year I carry a series of images more vivid and lasting than any others of my boyhood and indelible beyond all attempts the years make to erase or fade them. . . .
A young Sioux woman lies on a bed in our house. She is feverish, delirious, and coughing so hard I am afraid she will die.
My father kneels on the kitchen floor, begging my mother to help him. It’s a summer night and the room is brightly lit. Insects cluster around the light fixtures, and the pleading quality in my father’s voice reminds me of those insects—high-pitched, insistent, frantic. It is a sound I have never heard coming from him.
My mother stands in our kitchen on a hot, windy day. The windows are open, and Mother’s lace curtains blow into the room. Mother holds my father’s Ithaca twelve-gauge shotgun, and since she is a small, slender woman, she has trouble finding the balance point of its heavy length. Nevertheless, she has watched my father and other men often enough to know where the shells go, and she loads them until the gun will hold no more. Loading the gun is the difficult part. Once the shells are in, any fool can figure out how to fire it. Which she intends to do.
There are others—the sound of breaking glass, the odor of rotting vegetables.... I offer these images in the order in which they occurred, yet the events that produced these sights and sounds are so rapid and tumbled together that any chronological sequence seems wrong. Imagine instead a movie screen divided into boxes and panels, each with its own scene, so that one moment can occur simultaneously with another, so no action has to fly off in time, so nothing happens before or after, only during. That’s the way these images coexist in my memory, like the Sioux picture calendars in which the whole year’s events are painted on the same buffalo hide, or like a tapestry with every scene woven into the same cloth, every moment on the same flat plane, the summer of 1948....
Forty years ago. Two months ago my mother died. She made, as the expression goes, a good death. She came inside the house from working in her garden, and a heart attack, as sudden as a sneeze, felled her in the kitchen. My father’s death, ten years earlier, was less merciful. Cancer hollowed him out over the years until he could not stand up to a stiff wind. And Marie Little Soldier? Her fate contains too much of the story for me to give away.
A story that is now only mine to tell. I may not be the only witness left—there might still be someone in that small Montana town who remembers those events as well as I, but no one knew all three of these people better.
And no one loved them more.
One
IN 1948 my father was serving his second term as sheriff of Mercer County, Montana. We lived in Bentrock, the county seat and the only town of any size in the region. In 1948 its population was less than two thousand people.
Mercer County is in the far northeast corner of Montana, and Bentrock is barely inside the state’s borders. Canada is only twelve miles away (though the nearest border crossing is thirty miles to the west), and North Dakota ten miles. Then, as now, Mercer County was both farm and ranch country, but with only a few exceptions, neither farms nor ranches were large or prosperous. On the western edge of the county and extending into two other counties was the Fort Warren Indian Reservation, the rockiest, sandiest, least arable parcel of land in the region. In 1948 its roads were unpaved, and many of its shacks looked as though they would barely hold back a breeze. But all of northeastern Montana is hard country—the land is dry and sparse and the wind never stops blowing. The heat and thunderstorms in summer can be brutal, and the winters are legendary for the fierceness of their blizzards and the depths to which temperatures drop. (In one year we reached 106 degrees in July and 40 below in January.) For those of you who automatically think of Montana and snow-capped mountains in the same synapse, let me disabuse you. Mercer County is plains, flat as a tabletop on its western edge and riven with gullies, ravines, and low rocky hills to the east because of the work the Knife River has done over the centuries. The only trees that grow in that part of the country, aside from a few cottonwoods along the riverbank, have been planted by farmers and town dwellers. And they haven’t planted many. If the land had its way, nothing would grow taller than sagebrush and buffalo grass.
The harshness of the land and the flattening effect of wind and endless sky probably accounted for the relative tranquility of Mercer County. Life was simply too hard, and so much of your attention and energy went into keeping not only yourself but also your family, your crops, and your cattle alive, that nothing was left over for raising hell or making trouble.
And 1948 still felt like a new, blessedly peaceful era. The exuberance of the war’s end had faded but the relief had not. The mundane, workaday world was a gift that had not outworn its shine. Many of the men in Mercer County had spent the preceding years in combat. (But not my father; he was 4-F. When he was sixteen a horse kicked him, breaking his leg so severely that he walked with a permanent limp, and eventually a cane, his right leg V-ed in, his right knee perpetually pointing to the left.) When these men came back from war they wanted nothing more than to work their farms and ranches and to live quietly with their families. The county even had fewer hunters after the war than before.
All of which made my father’s job a relatively easy one.
Oh, he arrested the usual weekly drunks, mediated an occasional dispute about fence lines or stray cattle, calmed a few domestic disturbances, and warned the town’s teenagers about getting rowdy in Wood’s Cafe, but by and large being sheriff of Mercer County did not require great strength or courage. The ability to drive the county’s rural roads, often drifted over in the winter or washed out in the summer, was a much more necessary skill than being good with your fists or a gun. One of my father’s regular duties was chaperoning Saturday night dances in the county, but the fact that he often took along my mother (and sometimes me) shows how quiet those affairs—and his job—usually were.
And that disappointed me at the time. As long as my father was going to be a sheriff, a position with so much potential for excitement, danger, and bravery, why couldn’t some of that promise be fulfilled? No matter how many wheat fields or cow pastures surrounded us, we were still Montanans, yet my father didn’t even look like a western sheriff. He wore a shirt and tie, as many of the men in town did, but at least they wore boots and Stetsons; my father wore brogans and a fedora. He had a gun but he never carried it, on duty or off. I knew because I checked, time and time again. When he left the house I ran to his dresser and the top drawer on the right side. And there it was, there it always was. Just as well. As far as I was concerned it was the wrong kind of gun for a sheriff. He should have had a nickel-plated Western Colt .45, something with some history and heft. Instead, my father had a small .32 automatic, Italian-made and no bigger than your palm. My father didn’t buy such a sorry gun; he confiscated it from a drunken transient in one of his first arrests. My father kept the gun but in fair exchange
