Title Painted Drum
Binding Hard Cover
Book Condition New
Jacket Condition New
Edition 1st Edition. 1st Impression.
Publisher Scranton, Pennsylvania, U.S.A. HarperCollins 2005
0-06-051510-4 / 9780060515102
Signature/Autograph or Inscription Signed by Author
A.B.Normal Book Number 190825
New in new DJ covered by Brodart. Signed by author on special publisher bound in sheet. May be lightly bumped compliments of 'the boys in brown' from shipping to me. Purchased directly from publisher. Signature guarateed. Pictures at abnormalbooks dot com. Erdrich also won the 1998 World Fantasy Award Winner-Best Novel for her 'Antelope Wife'. FROM THE CRITICS Publishers Weekly Though Erdrich's latest lyrical novel returns to Ojibwe territory (Four Souls; Love Medicine, etc.), it departs from the concentrated vigor of her best work in its breadth of storytelling. Erdrich essays the grief that comes when the sins of parents become mortal for their children. Native American antiquities specialist Faye Travers, bereaved of her sister and father, ambivalently in love with a sculptor who has lost his wife and loses his daughter, stumbles onto a ceremonial drum when she handles the estate of John Jewett Tatro, whose grandfather was an agent at the Ojibwe reservation. Under its spell, she secrets it away and eventually repatriates it to that reservation on the northern plains-the home of her grandmother. The drum is revived, as are those around it. Gracefully weaving many threads, Erdrich details the multigenerational history surrounding the drum. Despite her elegant story and luminous prose, many of the characters feel sketchy compared to Erdrich's previous titans, and several redemptions seem too pat. But even at low voltage, Erdrich crafts a provocative read elevated by beautiful imagery, as when children near death fly off like skeletal ravens. (Sept.) Copyright 2005 Reed Business Information. Library Journal At the heart of Erdrich's new work is a massive, heavily ornamented drum. Faye Travers, who steals it from an estate she's called in to appraise, can hear it without touching it. As Faye and her mother track down the drum's history, they uncover the early years of Fleur Pillager, an enduring character in the Erdrich pantheon (e.g., Tracks). On a North Dakota reservation, Bernard Shaawano explains how his grandmother, Anaquot, abandoned her family for love of Simon Jack, taking the infant Fleur with her; Anaquot's older daughter is thrown (or throws herself) to the wolves following the wagon. Through a vision, Bernard's grieving grandfather learns that his task is to construct the drum. And a powerful drum it is-Simon Jack drops dead as he dances around it the wrong way-but the story is not quite so powerful. Its parts do not hang together easily, and those set in the present don't seem to engage Erdrich's formidable imagination. But passages of stark and painful beauty remain: the sacrifice of Anaquot's daughter, Anaquot's sly dealings with her lover's wife, Simon Jack's death. They may not be enough to hold everyone, but they will certainly hold Erdrich fans. [See Prepub Alert, LJ 5/15/05.]-Barbara Hoffert, Library Journal Copyright 2005 Reed Business Information. Kirkus Reviews The eponymous Native American object vibrates powerfully-as both instrument and symbol-in this tenth volume in Erdrich's epic Ojibwe saga. The drum is found, in a New Hampshire farmhouse following a sudden death, by Faye Travers, a middleaged divorcee of mixed ethnic origin, whose complicated personal life dominates the novel's expository opening section. She's a former drug user, now living with her mother Elsie and sharing the duties of Elsie's "estates business"; the lover of a moody German sculptor, and an assiduous observer and considerer of birds, other natural phenomena and persistent memories of her younger sister Netta's accidental death in childhood. Reasoning that the drum-found among a white family's possessions-was "stolen from our own people," Faye absconds with it, then travels west with Elsie to the Ojibwe reservation to which they'll return it. The drum then "tells" its story, in three interconnected narratives. The first details the sundering of "old Shaawano's" family when his wife Anaquot, "burning" with love for another man, flees with her illegitimate baby and older daughter, inadvertently sacrificing a child's life to a pack of starving wolves. The second relates further consequences of Anaquot's folly, then tells how Shaawano, inspired and burdened by "visions" of a dead child, painstakingly fashions the drum ("a container for the spirit, just as if it were flesh and bone"). The third story reveals how, two generations later, the drum sounds again, and three children left alone in a freezing house and subsequently lost in frigid darkness, hear its "healing" music. Erdrich draws us into her exquisitely detailed world effortlessly, and even this novel's frequentexcesses of summary cannot blunt the power of its narrative ingenuity and luminous prose. The worlds of ancestry and tradition, humans and animals (notably, wolves and ravens), living and remembering and dreaming, are here rendered here with extraordinary clarity and insistent emotional impact. Hard to believe, but Erdrich just keeps getting better.