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51 pages 1 hour read

Love Medicine

Fiction | Novel | Adult | Published in 1984

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Chapters 6-10Chapter Summaries & Analyses

Chapter 6 Summary: “Lulu’s Boys (1957)”

In 1957, long after leaving Moses, Lulu is visited by Beverly “Bev” Lamartine, the brother of her dead husband, Henry. Beverly suspects that Lulu’s last child, a little boy named Henry Junior, is his own child. Lulu now has eight sons from Moses, her first legal husband Morrissey, and her latest husband Henry Lamartine, who died in a car accident. Bev’s parents taught him to aspire to higher social status than typically allotted to Indigenous Americans, so he left the reservation to sell textbooks. On the road, he asked for yearly pictures of Henry Junior to give him something to work for. Beverly lives in Minneapolis with his wife, a white woman named Elsa who works as a typist. Despite Elsa’s obvious dislike of children, Beverly is certain that everyone, including Lulu, will be happy with the arrangement he has dreamed up: He wants Henry Junior to come live with him.

Beverly visits Lulu and her boys. He is reminded of his close encounters with Lulu, and she tells him about choosing his brother over him: When they played strip poker, she chose the brother whose reaction satisfied her the most. Beverly notices how much Lulu’s sons love her, and how all Lulu’s boys are “Handsome, rangy, wildly various, [and] bound in total loyalty, not by oath but by the simple, unquestioning belongingness of part of one organism” (118). As the older boys teach Henry Junior how to shoot a gun outside, Lulu approaches Beverly and they kiss. The boys come back for dinner and Beverly’s perspective has changed. He recalls the time he and Lulu had sex after Henry’s burial.

That night, Beverly listens to the sounds of all the boys sleeping in the house. He longs for a life with Lulu, but reminds himself of his wife Elsa, and that he worked hard to leave the reservation. He waits until the dark early morning to leave, but instead of going away, he goes into Lulu’s room and curls up in bed with her.

Chapter 7 Summary: “The Plunge of the Brave (1957)

Nector Kashpaw comes from a family that can trace their heritage to the last hereditary leaders of their tribe. This grandiosity follows Nector in his youth. He never worked hard for his opportunities; people seemed to always offer up jobs and romance. He was cast in a Western film as a dying Indian, then spent a year working odd jobs–always employed, always on the move. One time, a woman pays him to be her nude model for a painting. When the painter shows him the product, in which Nector, nude, jumps off a cliff to certain death, he realizes that white people only want to use him for their fantasies of dead Indigenous Americans. Nector goes back home to his mother and his brother Eli. He contemplates a book he had been taught in high school, Moby Dick. He compares himself to Ishmael, because Nector also perseveres through challenges big and small. Nector thinks back to his adolescent love for Lulu. He was sure he would marry her, but his life changed so dramatically the day he ran into Marie on his way to the Convent. Now, 17 years and many babies later, he still misses Lulu even though he loves Marie. He works in local politics, but the work is not as glamorous or important as people make it out to be.

In 1952, Nector’s life takes another turn. He goes to work at the tribal offices and finds that two semi-trucks carrying butter have broken down on the hottest day of the year. Lulu drives by and Nector calls her over to help them transport boxes of butter in her air-conditioned car. She begrudgingly obliges, and they are alone together for the first time in years. Lulu doesn’t seem to remember or care about her past with Nector, how young they were, or how attracted the girls were to him. Nector needs to take the last box home to his family. Lulu stops on the way and they admire the view. They kiss, and he spreads the melting butter over her body. They have sex and later, when he is back at home with Marie and feeling guilty, he realizes he forgot their butter in Lulu’s car.

When Nector takes a job as a night watchman, he starts a five-year affair with Lulu. When she gives birth, Nector isn’t sure if the baby is his or someone else’s, even though he is certain the baby looks like a Kashpaw. When Beverly Lamartine visits Lulu, Nector is concerned Lulu will marry Beverly. Nector takes a swim in the lake, thinking through his limited options. Nector decides he must leave Lulu. As tribal chairman, Nector signs a notice evicting Lulu from the land her husband had squatted on. The land belongs to the tribe, not to Lulu individually, and the tribe plans to use the land to build a factory.

Even so, Nector can’t put Lulu out of his mind. After some deliberation, he writes a note for Marie that he is leaving her and runs off to give himself fully to Lulu. He waits outside of Lulu’s house. No one is home and he waits fitfully, smoking one cigarette after another. The flame from a discarded cigarette accidentally sets Lulu’s house on fire. Nector watches the house burn until he can’t bear the sight any longer, then spots Lulu coming out of the fire. Instead of punishing him, she brings him to a standing position and leads him away.

Chapter 8 Summary: “Flesh and Blood (1957)”

By 1957, Sister Leopolda is old and ill. Despite her animosity towards Leopolda, Marie decides to visit her and bring some freshly canned apples to the nuns. She takes her daughter Zelda with her to prove to Sister Leopolda that Marie was a woman of the world with an honorable husband and well-educated, well-behaved children. However, Leopolda is as cruel and dismissive of Marie as ever. She mocks Marie’s dress and defames her husband. Marie argues back, shocking Zelda with the truths and old resentments that come forth in their argument. Then, Leopolda starts hitting the irons of her bed with a spoon. Marie notices that the spoon is actually the poker Leopolda once assaulted her with, and Marie is seized with the desire to possess that poker. She asks Leopolda for her blessings and plans to grab the poker when Leopolda reaches her hand out for the blessing, but Leopolda uses the blessing as an opportunity to try to hit Marie with the poker. The two women struggle over the poker, and ultimately Marie lets go, pitying the old and frail woman before her.

On their walk back to their house, Zelda tells her mother that maybe she will go join the nuns. This makes Marie sad, but she also knows that Zelda is aimless and could use some experience. When they get home, Zelda finds Nector’s note to Marie. He confesses to his affair with Lulu and promises he won’t forget about his family. Marie wonders what she should do, but she isn’t angry and doesn’t feel driven by any emotions. She feeds one of her foster children and starts peeling potatoes to feed the other children. She calls out for Zelda’s help, but Zelda is gone, presumably to find her father. Marie thinks of Lulu’s late husband Henry, who put up with all Lulu’s infidelity and sons from different fathers out of love. Marie thinks she wouldn’t take her own life for Nector like Henry did for Lulu. Marie is struck by the part in Nector’s note in which he tells her that he is in love with Lulu.

Marie waxes her kitchen floor, proud of her cleanliness and order even through the chaos of her husband leaving her. She hears Nestor come back with Zelda. Marie folds Nector’s note back under the jar where Zelda found it, wanting Nestor to wonder if Marie had ever seen it.

Chapter 9 Summary: “A Bridge (1973)”

At 15 years old, Albertine runs away from home and ends up in Fargo. She follows an Indigenous-looking man out of the bus station, only because she can’t think of anything else to do. On a strip of seedy bars, she spots him again. The man is aware that she is following him. A veteran and former prisoner of war, he is newly back in society after finally leaving his imprisonment and enduring psychological tests by the military. The man is Henry Lamartine Junior. When he finally approaches Albertine and they talk over drinks, they realize they know one another’s families, but not each other.

Henry brings Albertine to a motel room. He is much drunker than she is, and at first she tries to stay away from him. Reluctantly, they go to bed, him drunk and not a little ashamed and her scared of his ranting. He has sex with Albertine twice that night, and Albertine reacts with resignation to this exchange. In the morning, Albertine reaches for him and says his name. Henry reacts violently, scaring Albertine into a corner, certain he will beat her, but when he reaches her, she sees that he is crying.

Chapter 10 Summary: “The Red Convertible (1974)”

Lyman Lamartine has a special talent for making money. By age 16, through his shrewd business acumen and work ethic, he owned a diner all on his own. It was eventually destroyed in a tornado, but the diner was a source of pride and earned him enough money to buy a red convertible with his brother Henry Junior–the first convertible on the reservation. They loved it dearly. One day, as they are driving around, they stop for a hitchhiker, an Indigenous American girl who needs to go back to her home in Alaska. The boys enjoy Alaska, so they stay a while. The girl, Suzy, shakes down her pinned-up hair for them, and they are awed by its length.

When the Lamartine brothers get back home at the end of summer, Henry receives his orders to report for military service. Three years later, Henry comes back traumatized by the war in Vietnam. While he was gone, Lyman took good care of the car, sprucing it up for his brother’s return. Henry’s behavior alarms Lyman: Henry is jumpy, mean, and one day even bites through his own lip without realizing it. The family discusses what they should do to help Henry. They worry that bringing him to a hospital would mean that white doctors would drug and institutionalize him, but their mother Lulu doesn’t want to bring him to Moses Pillager, the reservation doctor, because of their romantic past. Lyman decides to give Henry a purpose. Lyman bangs up the car and waits for Henry to notice its condition. Henry scolds Lyman for letting the car get so wretched, and Lyman pretends he doesn’t know how to make it better. Henry spends hours fixing up the car, and even smiles for a picture when he’s done refurbishing it.

Lyman and Henry take the car on a trip, just like the old days. While sitting together in the cold woods, Lyman realizes how chaotic Henry’s psyche is. Henry tells Lyman he knows Lyman wrecked the car on purpose so Henry would fix it, but Henry doesn’t want it anymore and tells Lyman it’s all his. Lyman argues, then they fight. A hard punch from Lyman makes Henry laugh, then Henry jumps into the nearby river. Lyman sees the river swiftly taking Henry away. He tries to follow Henry, but Henry is lost to the river.

Chapters 6-10 Analysis

These chapters provide pivotal context for how the Lamartine and Kashpaw family connections are drawn. This connection centers around two formidable and paralleled matriarchs: Marie Kashpaw and Lulu Lamartine. Both women are loved and have been loved by the same man: Nector Kashpaw. Both women have many children who adore them. Both women are the glue that holds their families together. Both women also missed out on their own childhood security, torn from their mothers and forced to live with others, some of whom treated the girls with outright disdain. Instead of repeating these cycles of abuse and abandonment, Marie and Lulu devote themselves to being excellent caretakers. Their crucial difference is that Lulu seeks love from many different men, whereas Marie seeks love from her biological and adopted children. Their children and relationships with the families they’ve created give both women a sense of purpose and self-esteem. Their lives are not without challenges, but ultimately, they persevere through all challenges for the love of their family. In these chapters, Lulu and Marie are portrayed as opposing forces because of Nector’s affair with Lulu, but in actuality, the women are parallel characters, not foils, as their interactions highlight their similarities rather than their differences. Their perceived rivalry is the beginning of the Lamartine-Kashpaw history. Their descendants will find one another, fight with one another, and sometimes love one another. Though the extent of these connections is revealed in later chapters, chapters 6-10 lay the structural groundwork for framing these two important and intertwined families.

The two matriarchs featured in these chapters are very much in flux with the male characters in their lives. Erdrich does not present a simple dichotomy between men and women in this novel. That is, it is not that the women are the heroes and the men the antagonists. Rather, each and every character in this novel is complex and struggles with their own pains and joys. Many of the male characters have alcoholism, commit acts of domestic violence, or abandon their families, but so do many of the female characters. Marie and Lulu’s roles as saviors are echoed in the character of Eli, who is the male representative of a structured and loving home life. However, the men and women of Erdrich’s story do carry different burdens based on the societal constructs they are bound by. For example, Henry is traumatized after being drafted to fight in Vietnam, an experience that many young men in the 1970s endured. Nector feels pressure to be a certain type of husband or father, even though he feels out of control. Whereas Nector and Henry are expected to keep on carrying on without complaint, it is more socially permissible for Marie and Lulu, as women, to express their feelings. Even so, Marie and Lulu tend to keep their feelings to themselves and provide a calm atmosphere to nearly every room and situation they encounter, whereas Henry and Nector’s unhappiness is written in their movements, in their faces, and in their gestures. While the men want to hide their emotions, they are not as good at it as the women. Thus, while Erdrich does not portray men as inherently morally inferior, women in these chapters are presented as the figures around which other people can feel safe and secured. This dynamic is repeated when Henry Junior seeks comfort from Albertine, whose simultaneous emotional distance and proximity to his experiences before the war allow Henry to reveal his hurt.

These chapters continue the chronological story of important moments in the Kashpaw family saga. June, whose death first propelled the story, becomes a background character as layers of plot development, character development, and thematic development help the reader more deeply understand the tragedies and joys that characterize the Kashpaw family. Because these chapters are structured as chronologically unfolding flashback, the foreshadowing of characters’ deaths or conflicts or joy is subtly revealed through inference. Henry Junior’s behavior in Chapter 9 both recalls the uncertainty and fraught nature of his parentage and foreshadows his family’s inability to help him heal from trauma. On a broader level, Erdrich repeats this forwards-and-backwards dynamic across the stories and characters; as the older generations attempt to come to terms with the consequences of their actions, the younger generations attempt to navigate the legacy of their parents and their own choices. This temporal simultaneity impacts the reader’s understanding of the dynamics of this family, which include irony and humor as much as tragedy. Thus, Erdrich ensures that her reader sees all the layers of human experience in her characters. While it is true that, as Indigenous Americans, history and society have oppressed these characters and created generational cycles of trauma, it is also true that these characters are fallible and funny and hopeful and loving and odd and wonderful.

In these chapters, characters often look back on the past and romanticize their youth. The older characters especially yearn for the people they once were, forgetting that they also had pain and conflict and shame in their youth. In this journey, in which adult characters must reckon with their past and current selves, Erdrich shows her reader how fraught and fragile life can be. As characters begin to understand themselves or get what they thought they wanted out of life, a curveball reminds them of old dreams. Nector takes this crisis from the internal to the external realm, as his desire to regain the love of his youth results in Lulu losing her cherished home. This literal and symbolic destruction provides some narrative closure to the drama between Marie, Lulu, and Nector, and prepares the reader for the coming shift to the younger generations of the various families. 

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