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The Insufficiency of Maps: A Novel

Overview

In this powerful debut novel by award-winning Nora Pierce, a young girl must discover the meaning of self and family as she struggles to find her place between two contrasting realities.

On the reservation, Alice lives in a run-down trailer. Both her parents are alcoholics. She seldom has enough food and she rarely attends school, but she is free to follow her imagination. She is connected to the life and ancestry of her people and the deep love she receives from her family and community.

When her mother succumbs to schizophrenia, Alice is removed from her home and placed with a white foster family in the suburbs. This new world is neat and tidy and wholesome, but it is also alien, and Alice is unmoored from everything she has ever known and everything that has defined her.

As she traces Alice's journey between two cultures, Pierce asks probing questions about identity and difference, and she articulates vital truths about the contemporary Native American experience. Utterly authentic and lyrically compelling, this novel establishes Pierce as an important voice in American literature.

Author Information

Nora Pierce

Nora Pierce teaches creative writing at Stanford University, where she was also a Wallace Stegner fellow. An award-winning writer, she was a Rosenthal Fellow in the PEN Center Emerging Voices program. She lives with her husband and child in California.

Editorial Reviews

In Pierce's forceful debut, Alice is five when she and her homeless, mentally ill mother, Amalie (Mami, she calls her), arrive at Papi's trailer in an Arizona Indian reservation to live. Papi, a heavy-drinking itinerant laborer, may or may not be Alice's father, but he adores Amalie (who is of Kwytz'an descent) and has been waiting for her to return after years of medication and hospitalization-related absence. Afflicted with a skin ailment and subsisting largely on French fries, Alice briefly attends the local reservation school before her mother's visions and paranoia prompt them to hitchhike back to Amalie's father's home in California. Amalie's mental condition worsens, along with Grampa's untreated diabetes: one, then the other is hospitalized, leaving Alice in foster care. At 13, Alice wants to fit in with her white American foster family and at the school she attends; but while foster sister Anne takes ballet classes, Alice is encouraged to learn bead-making and Indian dances. Yet the pull of her heritage is strong, and Alice and other Quechen (or Native) characters Pierce introduces grapple to overcome difficult legacies in this unsentimental coming-of-age story. (Apr.)
Copyright (c) Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
-- PUBLISHERS WEEKLY.

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Product Details

  • Published by

    Atria Books

  • Publish Date

    April 16, 2007 

  • Print ISBN

    0743292073

  • eBook ISBN

    9781416539414

  • Imprint

    Atria Books

  • Filesize

    307.27 KB

  • Number of Print Pages*

    224

* Number of eBook pages may differ. Click here for more information.

Excerpt from The Insufficiency of Maps by Nora Pierce

Our beginning, as far back as I can remember, my hand in hers. We're on the bus and we are short forty cents. Mami drops our fifteen pennies and they scatter across the floor of the bus. They roll under the seat of an old man in a dark green uniform with a ragged name tag on the pocket. He picks them up and carefully puts them in Mami's hand. "How much do you need?"
"Forty cents," she says.
He holds out two quarters. Mami says, "Go ahead, angel." I balance my way back to the driver and drop them into the coin slot. Mami takes my hand and we sit next to the man who gave us the money.
"Guess what?" She leans in close to him. "I'm getting married tomorrow. Going to the chapel." Her eyes grow wide. "Ding-dong, the bells are gonna ring!"
He grins, wrinkles cutting into the corners of his mouth. Then he winks at me, "Lucky man." A large woman seated across the aisle from me takes a tissue out of her purse and gestures toward the little black bits of dried blood on my legs. I've been scratching little bumps for days. "Chicken pox," Mami says. But they look like mosquito bites. The woman looks Mami up and down, but Mami just smiles.
The old man eyes our plastic bags and muddy shoes. "Looks like you've come a long way."
"We're going home," Mami says. "My father moved us away to the city when I was as small as my little girl here."
We've been walking all day to catch this bus. We came from a place far away, mostly walking, and the world around us changed from pale gray and wet to red and dry. I can't remember where we were before we started walking, except that it was so bright and bugs made loud sounds and we slept outside and counted the stars. We drew pictures in the mud of how we would rearrange them if we could. It is this lost place I am dreaming about, leaning against Mami's shoulder when the driver wakes us.
"It's the end of the line," he says. "Where exactly are you trying to get?" Mami digs out a postcard, hands it over to him.
"Lenny's? On route nine? That's all the way at the other end of the line. On the number four bus."
Mami stands, gathers our shopping bags and says, "Transfer, please."
He shakes his head. "You can't transfer to anything out here."
She stares at him while the empty bus exhales black fumes. No one moves but me. I lean into Mami's hips and watch the smoke rings rise outside the window. "All right," he says finally. "Just stay on the bus."
When we do get off, it's late at night. The driver steps off the bus to point us in the right direction, and we start up the dirt road.
"Where are we going?" I ask.
"To the reservation to see your father," Mami says.
"When are we going to get there?"
"Don't know, angel."
"Are we going to have happy dream come true?"
"Yes," Mami says. "Happy dream come true."
She hangs a blue plastic shopping bag on her ponytail and sings, "Wedding bells are ringin' in the chapel, ding-dong the bells are gonna ring!"
She smiles, takes my face in her hands. "And you can be the flower girl."
"Yeah," I say, "and you can be the other flower girl."
Mami rips some weeds from the ground. "Like this," she says, and points her toes, prancing along the road, stretching her neck high. She flings weeds to either side of her. I tiptoe behind and throw little sprigs of grass in the air.
"You know what this means," Mami says. She races in a circle around me and mocks a donk on my head. "The condor fight!"
I fall over dead.
She scratches and scratches the air above me.
"Now my dear." Mami leans over me, making her voice shaky. "Now you are dry bones."