“The Mighty Red,” the title of Louise Erdrich’s rambunctious new novel, definitely refers to North Dakota’s Red River, around which much of it is set, and probably refers to a large, red-headed character named Hugo. A central event in “Mighty Red” is the marriage of a young woman named Kismet, but will she end up with brash Gary or gentle Hugo? Most of the characters have something to say about that, including Kismet’s mom Crystal, a truck driver who hauls sugar beets and whom Erdrich— a Pulitzer Prize winner for “The Night Watchman,” National Book Award winner for “The Round House” and owner of Birchbark Books in Minneapolis — says is something of a stand-in for her. Erdrich, a member of the Turtle Mountain Band of Chippewa who lives in Minneapolis, has written 20 books.
What came first when you were dreaming up “The Mighty Red”?
The first character I really thought about was Hugo. He goes back about 10 years and just kept plodding back into my notebooks with his obsessions about geology and energy and with his hapless ardor. I guess a lot of this book is about hapless ardor. Here we are, wired to mate, yet relationships are so ridiculous and awkward and, if you are lucky, magical. The goal in my books is never to get two people together and leave them marooned, but to explore the tension and idiocy in a relationship. I mean, love. When love gets to a critical madness, people get married to reduce the madness to manageable increments of madness — like who keeps track of the vacuum cleaner attachments? Who deals with the mice? Who mislabeled the electrical box? Forget nosegays and frothed milk. Dawn dish soap becomes the thing you can’t live without. Like Kismet, you may end up making three-egg breakfasts for your husband’s family and eating your own breakfast out in the garage. Like “ The Sentence,” “The Mighty Red” is set in the recent past.
Which Crystal listens to, as well. Any more research?
Then I really lost my mind diving into how Roundup Ready seeds were developed, also at that time. I couldn’t think about anything but herbicides and pesticides. I became a known conversation killer. A lot of farming is degenerative as opposed to regenerative, and obviously that’s got to stop. Most of the farmers I know are doing their best to use few chemicals and do right by their land. They are some of the smartest people I know. But they are running businesses. Sugar is a dirty business. However, sugar is delicious. At the end result of all those herbicides and petrochemicals and semi trucks and processing is pure, white, sparkly, granulated sugar. It is integral to our food chain now, it hits the pleasure centers in your brain like rocket fuel, and even having written this book I still love cake and ice cream.
The title character of the book, or at least one of them, is a river, which you describe as “everything.” Can you talk about how living in a river valley shapes these people?
Are you asking whether there is a character trait that people who live along and depend on a river share? Or a lake? I don’t know — maybe love of walleye? Certain members of my family and I have been conducting a longitudinal study of who — aside from my brother Ralph — makes the best fried walleye in the Upper Midwest. We have a long way to go, but so far the Creekside Supper Club (Red Lake walleye) comes closest to the sine qua non of walleye (without which life is meaningless) on a good night at the Sky Dancer Casino (Lake Winnipeg walleye) in the Turtle Mountains. If people want to write to the Minnesota Star [Tribune] with the results of their own studies, that would be great. Just don’t contact me about this. I can’t let any extraneous information spoil the parameters of my own investigation.
I can’t wait to see that striking cover in stores. I know it’s designed by your daughter, Aza Abe, who has done many of your covers. How important are covers to you, as both a writer and bookseller?
Covers tell the bookseller and the reader how much a publisher cares about the book. (An author usually doesn’t get much say.) I love how covers can be art that wasn’t created for the book and yet be all about the book. When I am bowled over by a new novel in manuscript, and then the final cover isn’t good enough for the book, I’m so upset.
I’m beyond lucky to have my daughter Aza Abe, a remarkable woman and tremendous artist, as the cover artist. I’m so grateful that she and I were able to start working together. Every one of her covers is stellar and says something about the book that can only be said visually. A reader should turn back and forth from the text to the cover and always find something to think about. That always happens with her images. Take this particular cover. Aza’s image is about the origin of the Red River, where three rivers come together and flow north. The river is white because it’s sugar. The earth is deep black with gold flecks because good soil is the earth’s wealth. The letters are strong and bold because that’s the river, too.
You never seem to judge your characters. Has that always been crucial to your work? Do you have other “rules” for writing?
A lot of being a writer is getting out of your own way. I try to simply report on what the characters are doing and thinking. If I make a judgment, it is in the voice of a character reflecting on what they’ve done. It’s not that I’m so high-minded, it’s more that it’s intrusive for a writer to make a judgment. And the reader is bound to wonder why, if you, the writer, have such a poor opinion about your character, why not just redeem them? I am opposed to redemption in a book. Maybe that’s a rule, but I break that rule if it needs breaking.
What surprised you most in writing this novel?
The arrogant wealthy jock, Gary, surprised me. What a jackass. But then as I wrote him, I began to discover how vulnerable he was, how ridiculous, how haunted. He became my favorite character to write.
Tribune News Service