Last Report on the Miracles at Little No Horse
-Author: Louise Erdrich
-Publishing Date: 2001
-Setting Genre: Fictional Realism // Historical Fiction
-Narrative Genre: Memoir, Town Ensemble, Non-sequential Narrative
-Themes: Gender Identity, Religious Exploration/Questioning, Public vs Private Worship
Subjective Length: 3-7 days
Overall, 7/10. This is a well-written novel, with a compelling narrative style; however, those who are not fans of historical or realistic fiction may or may not find themselves enthralled in the unfolding plot. More likely; however, they may be put off by a number of controversial themes. That said, those who, despite not being fans of the genre, can stick through the first few chapters, will find a depth of storytelling that speaks to something human in the nobility of seeking answers in a world not forthcoming with the certainties we desire.
Controversial Themes:
Juxtaposition of Religion and Gender: Let's begin with the most obvious. This book deals with a prolonged gender-disguise. This is not portrayed as trans-genderism, as when the audience is given insight into the mind of the character acting this out, they continue to refer to themselves in feminine pronouns, despite living as a man for several decades. This disguise is taken up out of a sense of religious duty, arising from visions seen in a near death experience. All of this creates a scenario sexually uncomfortable for the stereotypical conservative and religiously uncomfortable for the stereotypical liberal. Some discomfort in themes didn't ruin the book for me, but your mileage may vary.
Sex: Sex is dealt with often, and situates this work solidly in the conventions of contemporary literature. The amount of sex involved fits with the expected content of realistic new releases and Oprah selections. Also included are a scene involving necrophilia, and a scene in which a demon disguised as a dog attempts to entice a character to sin; this is described in somewhat sexual language.
Homosexuality: The main characters of this book speak seldom on this issue, but put forth the classic Catholic viewpoint. When two characters sworn to celibacy share intimacy, they include a half-joking assertion that, at least, it wasn't a homosexual liason. This may be offensive to some readers.
Demonic Powers: Demons are portrayed, but it is unclear whether the vaguely defined narrator views these experiences as real or as delusions. Though, the moral high ground seems to be given to characters who view these incidents as genuine.
Universalism: While not said in so many words, there is a universalist underpinning to the plot. This includes a dying character trying to decide which religion's heaven she finally goes to.
**SPOILERS AHEAD***SPOILERS AHEAD***SPOILERS AHEAD***SPOILERS AHEAD**
Last Report on the Miracles as Little No Horse deals primarily with the life of Agnes DeWitt, also known as Sister Cecilia, also known as Father Damien. The story skips forwards and backwards in time, shedding light firstly on the life of Father Damien, and secondarily on the life of Sister Leopolda, also known as Pauline Puyat.
Damien's story begins as Sister Cecilia: a nun. She comes to a reverence for music, especially Chopin, which raises dangerous emotions in the rest of the convent, and leads her to, in the throes of playing this music, reach orgasm, and enter into what is treated in the text as a sexual relationship with music and with Chopin. When the Mother Superior puts a stop to this, Cecilia leaves the convent, becoming again Agnes DeWitt.
She then enters into a relationship with Berndt Vogel: a German settler establishing a homestead. This develops into a sexual relationship, which Berndt's will reveals to be, in his mind, a common law marriage. She obtains a piano during this time and begins teaching music lessons. On an errand in town, she is taken hostage by a bank robber, and, in rescuing her, Berndt is killed.
In a despondence after the death of Berndt, she lives on in the town, eventually meeting Father Damien. She initially holds him in contempt for his perceived naïveté. Shortly thereafter, her home is flooded by an overflowing river that swallows her piano and leaves her barely alive. She experiences a vision of what she perceives to be Christ nurturing her back to health and charging her to be "like Me". When, shortly thereafter, she finds the body of Father Damien, she takes this as a charge to become a man and follow in the plans of Father Damien, assuming his identity and moving into the town of Little No Horse.
It is here that the primary thrust of the story takes place, as Father Damien/Agnes is interviewed concerning the possible canonization of Sister Leopolda. This is a complex issue which boils down to a single point. Damien/Agnes knows Leopolda is unworthy of such distinction, and the best evidence for it is a murder committed by Leopolda. The issue is that there is no way to obscure the fact that Damien/Agnes has known of this crime for years, and never went to the authorities. She kept the crime secret when Leopolda revealed that she knew Agnes was not really a man, and had been masquerading as one. Damien/Agnes then covered up the crime to protect the secret of her own identity.
Ancillary to the main thrust of the plot, the book is a deeply theological book, holding an almost Descartian view of mankind's inability to know with certainty the veracity of any one set of religious claims. Agnes' discussions with a man named Nanapush pepper the narrative with deep discussions of the afterlife, the nature of spirits in the world of men, the balance of mundane and spiritual concerns, and the differences between the Ojibwe and the Catholics in particular, and between monotheistic and animistic faith systems in general.
The book highlights the difference between dramatic and simple events. The events leading to the creation of this new Father Damien are the most dramatic, but cover less than 50 pages of a more than 350 page book, while the quiet acts of selflessness that defined the remainder of Agnes' life take center stage. This highlights the differences between Sister Leopolda: a manipulative murderess whose dramatic forms of self-flagellation, and claimed miracles are what the world looks at as Saintly: and Agnes/Damien, who lived a life of faithful service, seeking to help people seeking help, and to improve the church and the community through tireless and consistent effort. This could, in simplest terms, be seen as a religiously moralistic retelling of the Tortoise and the Hare: reliability and service versus spectacle and showmanship.
This is the counterpoint that comes up, interestingly enough, in most criticism of Romantic Comedies. The idea that the world is impressed by grand gesture, but that true love is done simply, in daily actions that show something deeper than ego, affection, or lust. It is this dichotomy that forms the central thesis of Last Report, and it is this hard look at the theatrical trappings of romance versus the quiet sacrifice of deep and relational love that defines the impact of this work.
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