Judge Antone Bazil Coutts Character Analysis

In the winter of our great starvation, […] citizens of Argus sold their grain and raffled off a grand piano. More recently, when we traveled to Washington to fight a policy that would have terminated our relationship with the United States Government guaranteed by treaty, only one lawyer, from Pluto, stood up for us. That was my father. And in 1911, when a family was murdered […], a posse mob tore after a wandering bunch of our people.

[…] I told [Geraldine] that later on the vigilantes admitted that they probably were mistaken. She hadn’t known that. “But it happened in the heat of things, one of them said, I think Wildstrand. In the heat of things!”

Geraldine said, “What doesn’t happen in the heat of things? Someone has seized the moment to act on their own biases. That’s it. Or history. Sometimes it is history.”

As he entered the cabin, he saw a watery slur of movement. In the light from the open door an otter popped his head up and regarded him with the curious and trusting gaze of a young child. Slowly, not taking his eyes off the creature, Joseph aimed and shot. The otter died in a bloody swirl and Joseph found, when he fished it out, that his eyes had filled with tears. In a moment he was weeping helplessly over the gleaming and sinuous body of the creature.

[…] For he’d had the instant horror that he had committed a murder. And that conviction still filled him. The creature was an emissary of some sort. He’d known as they held that human stare. Joseph himself was part of all that was sustained and destroyed by a mysterious power. He had killed its messenger. And the otter wasn’t even edible.

As I look at the town now, dwindling without grace, I think how strange that lives were lost in its formation. It is the same with all desperate enterprises that involve boundaries we place upon the earth. By drawing a line and defending it, we seem to think we have mastered something. What? The earth swallows and absorbs even those who manage to form a country, a reservation. […]

Nothing that happens, nothing, is not connected here by blood. I trace a number of interesting social configurations to the Wildstrand tendency to sexual excess, or “deathless romantic encounters,” as Geraldine’s niece, Evelina, puts it when listening to the histories laid out by Seraph Milk. But of course the entire reservation is rife with conflicting passions […] and every attempt to foil our lusts through laws and religious dictums seems bound instead to excite transgression.

Burton’s contemporary, Francis Bacon, believed it was only due to Justice that man can be a God to man and not a wolf. But what is the difference between the influence of instinct upon a wolf and history upon a man? In both cases, justice is prey to unknown dreams. And besides, there was a woman.

Here I come to some trouble with words. The inside became the outside when Shamengwa played music. Yet inside to outside does not half sum it up. The music was more than music—at least what we are used to hearing. The music was feeling itself. The sound connected instantly with something deep and joyous. Those powerful moments of true knowledge that we have to paper over with daily life. The music tapped the back of our terrors, too. Things we’d lived through and didn’t want to ever repeat. Shredded imaginings, unadmitted longings, fear and also surprising pleasures. No, we can’t live at that pitch. But every so often something shatters like ice and we are in the river of our existence. We are aware. And this realization was in the music, somehow, or in the way Shamengwa played it.

In spite of my conviction that he was probably incorrigible, I was intrigued by Corwin’s unusual treatment of the instrument. I could not help thinking of his ancestors, the Peace brothers, Henri and Lafayette. Perhaps there was a dormant talent. And perhaps as they had saved my grandfather, I was meant to rescue their descendant. These sorts of complications are simply part of tribal justice. I decided to take advantage of my prerogative to use tribally based traditions in sentencing and to set precedent. First, I cleared my decision with Shamengwa. Then I sentenced Corwin to apprentice himself […] He would either learn to play the violin, or he would do time. In truth, I didn’t know who was being punished, the boy or the old man. But now at least, from the house we began to hear the violin.

That fiddle had searched long for Corwin. I had no doubt. For what stuck in my mind, what woke me in the middle of the night, after the fact of reading it, was the date on the letter. 1888 was the year. But the violin spoke to Shamengwa and called him out onto the lake in a dream almost twenty years later.

“How about that?” I said to Geraldine. “Can you explain such a thing?”

She looked at me steadily.

“We know nothing” is what she said.

I was to marry her. […] I do my work. I do my best to make the small decisions well, and I try not to hunger for the great things, for the deeper explanations. For I am sentenced to keep watch over this small patch of earth, to judge its miseries and tell its stories. That’s who I am. Mii’sago iw.

The playing of the violin is the only thing in the world and in that music there is dark assurance. The music understands, and it will be there whether we stay in pain or gain our sanity, which is also painful. I am small. I am whole. Nothing matters. Things are startling and immense. When the music is just reverberations, I stand up. The nurse is checking her watch and frowning at it first, then down at Warren, then at her watch again. I stand next to Corwin as he carefully replaces his violin in its case and snaps the latches down. I look at my cousin and he looks at me—under those eyebrows, he gives his wicked, shy grin and points his lips in a kiss, toward the door.

“I can’t leave here,” I say.

And I walk out of that place.

Judge Coutts was unwilling to confess and be absolved of his sins […] so they were married by the tribal judge who preceded Judge Coutts, on a gentle swell of earth overlooking a field of half-grown hay in which the sage and alfalfa and buffalo grass stood heavy—Mooshum’s old allotment land.

Corwin played for us of course—he was the only entertainment. When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape. I didn’t want to go. I didn’t know what would happen to me, bad or good, or whether I could bear it either way. But Corwin’s playing of a wordless tune my uncle had taught him brightened the air. As I walked away I kept on hearing that music.

The house was so real around me that I could smell the musty linen in the cedar closet, the gas from the leaky burner on the stove, the sharp tang of geraniums that I had planted in clay pots. I lay down on the exact place where the living room couch had been pushed tight under the leaded-glass windows. I closed my eyes and it was all around me again. The stuffed bookshelves, the paneling, the soft slap of my mother’s cards on the table. […]

I turned over and made myself comfortable in the crush of wild burdock. A bee or two hummed in the drowsy air. The swarm had left the rubble and built their houses beneath the earth. They were busy in the graveyard right now, filling the skulls with white combs and the coffins with sweet black honey.

When Pluto’s empty at last and this house is reclaimed by earth, when the war memorial is toppled and the bank/caf stripped for its brass and granite, when all that remains of Pluto is our collected historical newsletters bound in volumes donated to the local collections at the University of North Dakota, what then? What shall I have said? How shall I have depicted the truth?

In the winter of our great starvation, […] citizens of Argus sold their grain and raffled off a grand piano. More recently, when we traveled to Washington to fight a policy that would have terminated our relationship with the United States Government guaranteed by treaty, only one lawyer, from Pluto, stood up for us. That was my father. And in 1911, when a family was murdered […], a posse mob tore after a wandering bunch of our people.

[…] I told [Geraldine] that later on the vigilantes admitted that they probably were mistaken. She hadn’t known that. “But it happened in the heat of things, one of them said, I think Wildstrand. In the heat of things!”

Geraldine said, “What doesn’t happen in the heat of things? Someone has seized the moment to act on their own biases. That’s it. Or history. Sometimes it is history.”

As he entered the cabin, he saw a watery slur of movement. In the light from the open door an otter popped his head up and regarded him with the curious and trusting gaze of a young child. Slowly, not taking his eyes off the creature, Joseph aimed and shot. The otter died in a bloody swirl and Joseph found, when he fished it out, that his eyes had filled with tears. In a moment he was weeping helplessly over the gleaming and sinuous body of the creature.

[…] For he’d had the instant horror that he had committed a murder. And that conviction still filled him. The creature was an emissary of some sort. He’d known as they held that human stare. Joseph himself was part of all that was sustained and destroyed by a mysterious power. He had killed its messenger. And the otter wasn’t even edible.

As I look at the town now, dwindling without grace, I think how strange that lives were lost in its formation. It is the same with all desperate enterprises that involve boundaries we place upon the earth. By drawing a line and defending it, we seem to think we have mastered something. What? The earth swallows and absorbs even those who manage to form a country, a reservation. […]

Nothing that happens, nothing, is not connected here by blood. I trace a number of interesting social configurations to the Wildstrand tendency to sexual excess, or “deathless romantic encounters,” as Geraldine’s niece, Evelina, puts it when listening to the histories laid out by Seraph Milk. But of course the entire reservation is rife with conflicting passions […] and every attempt to foil our lusts through laws and religious dictums seems bound instead to excite transgression.

Burton’s contemporary, Francis Bacon, believed it was only due to Justice that man can be a God to man and not a wolf. But what is the difference between the influence of instinct upon a wolf and history upon a man? In both cases, justice is prey to unknown dreams. And besides, there was a woman.

Here I come to some trouble with words. The inside became the outside when Shamengwa played music. Yet inside to outside does not half sum it up. The music was more than music—at least what we are used to hearing. The music was feeling itself. The sound connected instantly with something deep and joyous. Those powerful moments of true knowledge that we have to paper over with daily life. The music tapped the back of our terrors, too. Things we’d lived through and didn’t want to ever repeat. Shredded imaginings, unadmitted longings, fear and also surprising pleasures. No, we can’t live at that pitch. But every so often something shatters like ice and we are in the river of our existence. We are aware. And this realization was in the music, somehow, or in the way Shamengwa played it.

In spite of my conviction that he was probably incorrigible, I was intrigued by Corwin’s unusual treatment of the instrument. I could not help thinking of his ancestors, the Peace brothers, Henri and Lafayette. Perhaps there was a dormant talent. And perhaps as they had saved my grandfather, I was meant to rescue their descendant. These sorts of complications are simply part of tribal justice. I decided to take advantage of my prerogative to use tribally based traditions in sentencing and to set precedent. First, I cleared my decision with Shamengwa. Then I sentenced Corwin to apprentice himself […] He would either learn to play the violin, or he would do time. In truth, I didn’t know who was being punished, the boy or the old man. But now at least, from the house we began to hear the violin.

That fiddle had searched long for Corwin. I had no doubt. For what stuck in my mind, what woke me in the middle of the night, after the fact of reading it, was the date on the letter. 1888 was the year. But the violin spoke to Shamengwa and called him out onto the lake in a dream almost twenty years later.

“How about that?” I said to Geraldine. “Can you explain such a thing?”

She looked at me steadily.

“We know nothing” is what she said.

I was to marry her. […] I do my work. I do my best to make the small decisions well, and I try not to hunger for the great things, for the deeper explanations. For I am sentenced to keep watch over this small patch of earth, to judge its miseries and tell its stories. That’s who I am. Mii’sago iw.

The playing of the violin is the only thing in the world and in that music there is dark assurance. The music understands, and it will be there whether we stay in pain or gain our sanity, which is also painful. I am small. I am whole. Nothing matters. Things are startling and immense. When the music is just reverberations, I stand up. The nurse is checking her watch and frowning at it first, then down at Warren, then at her watch again. I stand next to Corwin as he carefully replaces his violin in its case and snaps the latches down. I look at my cousin and he looks at me—under those eyebrows, he gives his wicked, shy grin and points his lips in a kiss, toward the door.

“I can’t leave here,” I say.

And I walk out of that place.

Judge Coutts was unwilling to confess and be absolved of his sins […] so they were married by the tribal judge who preceded Judge Coutts, on a gentle swell of earth overlooking a field of half-grown hay in which the sage and alfalfa and buffalo grass stood heavy—Mooshum’s old allotment land.

Corwin played for us of course—he was the only entertainment. When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape. I didn’t want to go. I didn’t know what would happen to me, bad or good, or whether I could bear it either way. But Corwin’s playing of a wordless tune my uncle had taught him brightened the air. As I walked away I kept on hearing that music.

The house was so real around me that I could smell the musty linen in the cedar closet, the gas from the leaky burner on the stove, the sharp tang of geraniums that I had planted in clay pots. I lay down on the exact place where the living room couch had been pushed tight under the leaded-glass windows. I closed my eyes and it was all around me again. The stuffed bookshelves, the paneling, the soft slap of my mother’s cards on the table. […]

I turned over and made myself comfortable in the crush of wild burdock. A bee or two hummed in the drowsy air. The swarm had left the rubble and built their houses beneath the earth. They were busy in the graveyard right now, filling the skulls with white combs and the coffins with sweet black honey.

When Pluto’s empty at last and this house is reclaimed by earth, when the war memorial is toppled and the bank/caf stripped for its brass and granite, when all that remains of Pluto is our collected historical newsletters bound in volumes donated to the local collections at the University of North Dakota, what then? What shall I have said? How shall I have depicted the truth?