I've been trying to read more Native American literature. I'm thinking about teaching a class on contemporary Native writers next year, if I can figure out how to do it with sufficient humility and respect. Again and again, the news seems to serve as a chorus to my reading: the Dakota Pipeline fight, the derecognition of the Wampanoag, and now the President's crude "Trail of Tears" joke about Elizabeth Warren. For Donald Trump, the genocide of hundreds of thousands is dumb joke material, as fundamentally unserious as, say, the life of Pocahontas. Meanwhile, I was reading James Welch's novel Fools Crow, a book about what genocide looks like from the ground. It's a reminder that the atrocity of the Trail of Tears is only part of the larger story of American genocide against Native Americans, a story that continued after the civil war with westward expansion. Fools Crow tells the story of the Pikuni Blackfeet of Montana, who were decimated by white expansion and smallpox, culminating in the massacre of a non-hostile community at the Marias River in 1870.
Fools Crow is the story of White Man's Dog, a Blackfoot brave of the Lone Eaters band. When the novel begins the white settlers, called Napikwans or "seizers," are more rumor than anything else, and we are given a glimpse into the traditional life of the Blackfeet before their decimation. They survive by hunting buffalo, here called "blackhorns" (as distinguished from "whitehorn" cattle, imported by Napikwans), but they aren't exactly the peaceful close-to-the-earth people that Native American fetishists imagine: the Pikunis are horse-takers, and the first third of the book is taken up by the thrilling account of a horse-stealing raid against the enemy Crow people. In that raid, one of the leading chiefs, Yellow Kidney, is taken prisoner and his fingers cut off, an act that brings cascading repercussions to the Lone Eaters. White Man's Dog gets his new name--Fools Crow--during the raid that is revenge for Yellow Kidney's dismembering, when he kills a Crow after seeming to be dead. Welch brings the same kind of ambiguity and nuance to the Lone Eaters' violent excursions that we might expect from a modern war narrative:
Fools Crow. The naming ceremony. Three Bears had named him Fools Crow after hearing how he had tricked Bull Shield into thinking he was dead and then risen up to kill the Crow chief. But was that how it was? The story of how he had earned that name had been greatly exaggerated, despite his initial protests, until many thought he had tricked the whole Crow village, that his medicine contained some magic that made another man's eyes see wrong. The story of how Fools Crow had killed and scalped the man who had mutilated Yellow Kidney was even more embellished. Now Fools Crow had made the man cry, had laughed and spit on him, had made love to his wife, then killed him and stuffed his bloody genitals in his mouth. The men of the warrior societies laughed and kidded Fools Crow, but in their eyes he had become a man of much medicine.
The conflict with the Crow--and the careful identity-making among the Blackfeet that is predicated on that conflict--is quickly supplanted by conflict with the Napikwans. A rogue band of Pikunis led by Owl Child (a historical figure) and Fools Crow's old friend Fast Horse leads violent raids against the white settlers. Reading Fools Crow is like reading a fictionalized version of Dee Brown's Bury My Heart at Wounded Knee. We know that debate will rage among the Pikunis, deliberating between war and appeasement, and that in the end these arguments won't matter one bit: the U.S. Army will attack innocent Pikunis for what Owl Child has done, and ultimately, that's exactly how the massacre occurs.
Fools Crow reads, in some respects, like a fantasy epic: Fools Crow is the young underdog destined to lead his people, the Napikwans are the forces of Sauron. But we know that there's no possible way that the story can end with victory for Fools Crow and the Pikunis, and that makes the novel a deflated, ragged affair. It never recaptures the thrilling nature of the Crow raid at the beginning; no real showdown with the Napikwans ever comes (the massacre occurs "off-stage"); in the end, it's the slow massacre of smallpox that does Fools Crow's people in.
Instead, Fools Crow asks, how does a man lead his people through defeat? Like Erdrich and Silko, Welch treats the myths and traditions of the communities he writes about with literal seriousness; toward the end of the novel, Fools Crow is compelled by a dream to travel to the house of Feather Woman, a mythological figure who shows him a vision of the future. It's bleak. Fools Crow sees the massacre, the smallpox, and the ultimate assimilation of his people through boarding school regimes. But Fools Crow also sees that he and his ancestors will survive, and that there is a victory of sorts in remembering, and in that way the vision becomes Fools Crow's argument for itself: that as long as the story of the Blackfeet is told, then the victory of white Napikwan society can never be entirely complete. It's small comfort, but it's what's available. And while it's a different story, a different massacre that the President thinks is funny, Fools Crow is a reminder that it's important to remember what actually happened and just how horrible it was.
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