Winter in the Blood

Zusatztext "A nearly flawless novel about human life . . . Few books in any year speak so unanswerably! make their own local terms so thoroughly ours." -Reynolds Price! The New York Times Book Review "For some readers this will be the most significant piece of Indian writing they have yet encountered; for others it will simply be a brilliant novel." - The New Republic "An unnervingly beautiful book." -Roger Sale! The New York Review of Books Informationen zum Autor James Welch; Foreword by Joy Harjo; Introduction by Louise Erdrich Klappentext A contemporary classic from a major writer of the Native American renaissance - "Brilliant, brutal and, in my opinion, Welch's best work." -Tommy Orange, The Washington Post During his life, James Welch came to be regarded as a master of American prose, and his first novel, Winter in the Blood, is one of his most enduring works. The narrator of this beautiful, often disquieting novel is a young Native American man living on the Fort Belknap Reservation in Montana. Sensitive and self-destructive, he searches for something that will bind him to the lands of his ancestors but is haunted by personal tragedy, the dissolution of his once proud heritage, and Montana's vast emptiness. Winter in the Blood is an evocative and unforgettable work of literature that will continue to move and inspire anyone who encounters it. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. Leseprobe Part One 1 In the tall weeds of the borrow pit, I took a leak and watched the sorrel mare, her colt beside her, walk through burnt grass to the shady side of the log-and-mud cabin. It was called the Earthboy place, although no one by that name (or any other) had lived in it for twenty years. The roof had fallen in and the mud between the logs had fallen out in chunks, leaving a bare gray skeleton, home only to mice and insects. Tumbleweeds, stark as bone, rocked in a hot wind against the west wall. On the hill behind the cabin, a rectangle of barbed wire held the graves of all the Earthboys, except for a daughter who had married a man from Lodgepole. She could be anywhere, but the Earthboys were gone. The fence hummed in the sun behind my back as I climbed up to the highway. My right eye was swollen up, but I couldn't remember how or why, just the white man, loose with his wife and buying drinks, his raging tongue a flame above the music and my eyes. She was wild, from Rocky Boy. He was white. He swore at his money, at her breasts, at my hair. Coming home was not easy anymore. It was never a cinch, but it had become a torture. My throat ached, my bad knee ached and my head ached in the even heat. The mare and her colt were out of sight behind the cabin. Beyond the graveyard and the prairie hills, the Little Rockies looked black and furry in the heat haze. Coming home to a mother and an old lady who was my grandmother. And the girl who was thought to be my wife. But she didn't really count. For that matter none of them counted; not one meant anything to me. And for no reason. I felt no hatred, no love, no guilt, no conscience, nothing but a distance that had grown through the years. It could have been the country, the burnt prairie beneath a blazing sun, the pale green of the Milk River valley, the milky waters of the river, the sagebrush and cottonwoods, the dry, cracked gumbo flats....

Autorentext

James Welch; Foreword by Joy Harjo; Introduction by Louise Erdrich

Klappentext

A contemporary classic from a major writer of the Native American renaissance - "Brilliant, brutal and, in my opinion, Welch's best work." -Tommy Orange, The Washington Post

During his life, James Welch came to be regarded as a master of American prose, and his first novel, Winter in the Blood, is one of his most enduring works. The narrator of this beautiful, often disquieting novel is a young Native American man living on the Fort Belknap Reservation in Montana. Sensitive and self-destructive, he searches for something that will bind him to the lands of his ancestors but is haunted by personal tragedy, the dissolution of his once proud heritage, and Montana's vast emptiness. Winter in the Blood is an evocative and unforgettable work of literature that will continue to move and inspire anyone who encounters it.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Leseprobe

Part One

1

In the tall weeds of the borrow pit, I took a leak and watched the sorrel mare, her colt beside her, walk through burnt grass to the shady side of the log-and-mud cabin. It was called the Earthboy place, although no one by that name (or any other) had lived in it for twenty years. The roof had fallen in and the mud between the logs had fallen out in chunks, leaving a bare gray skeleton, home only to mice and insects. Tumbleweeds, stark as bone, rocked in a hot wind against the west wall. On the hill behind the cabin, a rectangle of barbed wire held the graves of all the Earthboys, except for a daughter who had married a man from Lodgepole. She could be anywhere, but the Earthboys were gone.

The fence hummed in the sun behind my back as I climbed up to the highway. My right eye was swollen up, but I couldn't remember how or why, just the white man, loose with his wife and buying drinks, his raging tongue a flame above the music and my eyes. She was wild, from Rocky Boy. He was white. He swore at his money, at her breasts, at my hair.

Coming home was not easy anymore. It was never a cinch, but it had become a torture. My throat ached, my bad knee ached and my head ached in the even heat.

The mare and her colt were out of sight behind the cabin. Beyond the graveyard and the prairie hills, the Little Rockies looked black and furry in the heat haze.

Coming home to a mother and an old lady who was my grandmother. And the girl who was thought to be my wife. But she didn't really count. For that matter none of them counted; not one meant anything to me. And for no reason. I felt no hatred, no love, no guilt, no conscience, nothing but a distance that had grown through the years.

It could have been the country, the burnt prairie beneath a blazing sun, the pale green of the Milk River valley, the milky waters of the river, the sagebrush and cottonwoods, the dry, cracked gumbo flats. The country had created a distance as deep as it was empty, and the people accepted and treated each other with distance.

But the distance I felt came not from country or people; it came from within me. I was as distant from myself as a hawk from the moon. And that was why I had no particular feelings toward my mother and grandmother. Or the girl who had come to live with me.

I dropped down on the other side of the highway, slid through the barbed-wire fence and began the last two miles home. My throat ached with a terrible thirst.

2

"She left three days ago, just after you went to town."

"It doesn't matter," I said.

"She took your gun and electric razor."

The room was bright. Although it was early afternoon, the…