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61 pages 2 hours read

Louise Erdrich

The Beet Queen

Fiction | Novel | Adult | Published in 1986

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Part 4, Chapters 13-16Chapter Summaries & Analyses

Chapter 13 Summary: “1972: Celestine James, Sita Tappe, Mary Adare”

The women are growing older, as Celestine admits, and she and Mary still antagonize each other in little ways with regularity. When Celestine has a dream that Sita is gravely ill, Mary, with her penchant for the occult, takes it as a sign. Sita’s husband, Louis, has since passed away, so they pack up to visit Sita and decide to stay once they arrive. Sita is clearly sick; she is fragile and thin, with hollows under her eyes. Mary also finds pills hidden in the flour container and worries that Sita might accidentally harm herself. She throws the pills away. When Sita discovers this, she digs through the garbage to rescue as many pills as she can find. Looking around Sita’s house, Celestine muses about the staying power of things. It seems wrong somehow that people’s things remain after they die. Meanwhile, their dog, Little Dickie, is sequestered outside; Sita will not allow him in the house. They hear him digging in Sita’s garden one night, followed by Sita’s angry shouts, and Mary throws a brick out of the window to frighten the dog away. It strikes Sita in the head, though not fatally. Celestine cares for her throughout the night, remembering the days when they were best friends as children.

Sita does not exactly welcome her cousin and former best friend. She decides to start sleeping in the basement, both to get away from the two women and to contemplate her past. She thinks about her dwindling supply of pills; they were Louis’s, and she knows no doctor in town will prescribe more for her. The blow from the brick has dulled her senses somewhat, but she is aware that she only has a couple of weeks’ supply left. Mary and Celestine have gone into town to make deliveries from the butcher shop. When they return, they plan to take Sita to the Beet Parade in Argus, where it appears that Dot will be crowned the Beet Queen. Sita is dreading this, but she crawls out of the basement up to the bathroom to get ready. Intending to die by suicide, she swallows all her remaining pills before bathing and dressing. She puts on Adelaide’s necklace, retrieved from the pawn shop years ago, and decides to wait for Mary and Celestine on the front porch.

Mary and Celestine realize that something is terribly wrong as they drive up to the house. Sita is propped up in the bushes in a standing position, her necklace caught on a branch, but she is dead. After some deliberating, they decide to put Sita in the truck and take her into town. Celestine does not want to miss the parade and the crowning of her daughter as Beet Queen. They speed into town and are stopped by a police officer, who does not find it strange that Sita refuses to speak to him. As they head into town, they realize they have inadvertently joined the parade route. Mary drives onward as Sita sits stock still and Celestine waves awkwardly at the onlookers. Finally, the route comes to an end, and they leave Sita in the truck to attend the festivities.

Interlude Summary: “Most-Decorated Hero”

Russell Kashpaw is to be in the Beet Parade as a local war hero. Attendants have put him in full dress uniform, with all his medals pinned to his chest. They wheel him onto the back of a float, where he watches the events in silence. Suddenly, he sees his sister Isabel, who has been dead for many years. He tries to follow her but is struck by the absurdity of the people of Argus “solemnly saluting a dead Indian” and begins to laugh (300). His laughter jolts him back to life, and he cannot return to his sister.

Chapter 14 Summary: “1971: Wallace Pfef”

Wallace is concerned about Dot. With each passing year, she becomes angrier and more difficult. She does not get along well with her peers, who tease her even though they fear her too much to bully her outright. Wallace believes her low self-esteem is making her unpopular, so he conjures up a scheme to boost her confidence. He inaugurates an annual Beet Festival—a celebration of the harvest that put Argus on the map—and includes in his plan a beauty pageant. There will be many queens—a Snow Queen, a Pork Queen, a Homecoming Queen—but the queen of all queens will be the Beet Queen, and Wallace will make certain that Dot wins the crown. Wallace works so hard to put together the festival, the parade, and, most importantly, the rigged vote that will snag Dot the title that his health begins to fail.

An unrelenting drought causes the townspeople to call on Wallace to cancel the festival, but he refuses, resolute in his desire to uplift Dot. A few days before the festival, Celestine shows Wallace a card from Karl: He is coming back to Argus. Wallace panics because he knows he looks terrible, strained by exhaustion and overwork. Still, he soldiers on, and the festival begins. He is slated to take a turn in the dunk tank, where people pay to throw baseballs at a target that will plunge him into the water below. He is feeling terribly ill as he climbs in, and, suddenly, he almost faints. He asks to be let out, but just at that moment, he sees Dot in her shiny green Beet Queen dress marching toward the dunk tank. She is clearly furious. She throws the ball, hitting the target, and as he sinks in the water, “[he] hear[s] the next two [balls] hit home” (311).

Interlude Summary: “The Passenger”

Father Jude Miller comes to Argus, using the old-fashioned train rather than the new bypass. He is looking for Kozka’s Meats, which Mary has long since renamed The House of Meats. His mother has given him the letter Sita wrote long ago; Mary forwarded it, without opening it, to the address for Catherine Miller after Sita’s suicide. Jude has come to discover the truth of his origins. When he happens upon the butcher shop, he finds it closed. He has arrived during the festival, and everyone is enjoying the parade.

Chapter 15 Summary: “1972: Karl Adare”

Karl reflects on his life, always traveling and never owning anything or owing anyone. He has started to think he might want something more. He begins to want everything he has discarded—“the cars repossessed after fifteen payments, the customer’s houses”—but, more importantly, he thinks, “what [he] really want[s] [is] their future” (317). Celestine has sent Karl the newspaper clipping reporting on Dot’s imminent crowning as Beet Queen. He drives back to Argus the day of the parade. He remembers his wedding to Celestine and Celestine’s firm refusal to have him in her or Dot’s lives.

When he arrives in Argus, the parade has just finished, and he manages to park on the far side of the route. He sees Sita sitting in Mary’s truck and climbs in next to her, hoping to take a nap. He is too exhausted to wonder why Sita will not speak to him, almost falling asleep immediately, but he follows Sita’s steely gaze and catches a glimpse of Wallace falling into the dunk tank. When he sees that Wallace simply sinks to the bottom, Karl jumps out of the car, runs to the tank, and jumps in, hauling Wallace to the surface.

Interlude Summary: “The Grandstand”

Mary and Celestine sit in the stands waiting for the coronation of the Beet Queen, their beloved Dot. They are still worried about the situation with Sita, but once the procession begins, their attention turns to Dot on the stage. She appears to be glowering, her hands clinched into fists and her gown crumpled around her. Before the ceremony gets fully underway, Wallace and Karl show up, drenched and breathless. Wallace tells the women that Dot knows that he has rigged the honor for her.

Meanwhile, a small airplane is warming up its engines—Wallace has arranged for the plane to write “Queen Wallacette” in the sky—and the announcer kicks off the ceremony. Suddenly, Dot bunches up her dress, leaps off the stage, and runs to the airplane. She jumps into the cockpit, and the plane takes off. The mayor, unfazed, reads from his script, telling the story of the beet’s success in Argus and naming Dot the Beet Queen. Dot’s family watches the sky, the four of them waiting for her return.

Chapter 16 Summary: “1972: Dot”

Dot recounts the events of the parade day from her point of view. She despises her shiny green dress, especially in comparison to what the other contenders are wearing, and she hates the ceremony itself. Her uncle Wallace is acting as if she has already won, so she feels like “[she] should have this float to [her]self alone” (330). On the float during the parade, the other girls speak openly about the fact that the vote has been rigged and that Wallace is behind it all. Dot is stunned, then angry: “They are making me dangerous,” she thinks (333). Then, they tease her about her cheap, ugly dress. By the time the parade has ended, Dot is enraged. She stalks up to the dunk tank and accuses Wallace of cheating before she throws the balls that land him in the water.

Once on the grandstand, she spies the plane and remembers the stories she heard about her grandmother, Adelaide. Once in the air, however, she is overwhelmed, both by the vastness of the sky and by the looping of the airplane as it writes “Queen Wallacette” above the town. Back on the ground, all she can think about is getting home. Everyone has gone except for Celestine, and they walk home together. They see that Karl is at Wallace’s house as they pass by. At home, Dot changes out of the green dress while Celestine makes her some eggs. Rain begins to fall, breaking the drought.

Part 4, Chapters 13-16 Analysis

Celestine and Mary bicker like an old married couple, and Celestine has grown impatient with Mary’s more outrageous theories and beliefs: “Mary still brings out my worst, and I can’t help myself from pulling her leg” (263). Celestine teases her, not without affection, though often Mary is oblivious to the joke, or pretends to be. Mary’s idiosyncratic religiosity adds an interesting counterpoint to the more orthodox crises of faith that make up the book’s exploration of Religious Belief, Doubt, and Guilt. As Celestine astutely observes, “Mary tries to get her imagination to mend the holes in her understanding” (263). Thus, Mary becomes ever more convinced of her own unlikely suppositions, though it turns out that, on occasion, she can be accurately prescient. When Celestine has the dream about Sita’s illness, Mary insists that they check on her; she believes that dreams function as messages from the beyond. When the two leave for Sita’s house, Celestine notes that Mary dresses like “the grim reaper on the month of January” (269), and this turns out to be a prescient choice of words. Sita is, in fact, gravely ill and will soon take her own life.

Even before Sita’s suicide, Celestine’s thoughts turn to death and things—physical objects, psychological traumas, emotional yearnings and disappointments—buried. She laments that physical objects outlast the personalities that collect them: “It makes me sad to think of them [common objects], so humble yet indestructible, while Sita, for all her desperation of a lifetime, must die” (278). This reflection reminds her of the tombs and “Indian burial mounds” where innumerable everyday objects are found: “Even buried, our things survive” (278). It strikes her as unjust that material things last far beyond the lives that first gave them meaning and value. Celestine’s relationship with Sita is a complicated one, and even as she tries to care for Sita, Celestine remembers how Sita bullied her when they were children. When she and Mary find Sita’s dead body, Celestine’s reaction, according to Mary, is awkward at best: “She was annoyed that Sita died in a yew bush the morning of her daughter’s glory. I don’t think it had entirely struck Celestine yet that Sita’s condition was permanent” (292). Preoccupied by the events of the day, Celestine is not ready to process the loss of her friend.

As this section begins, Sita’s world has collapsed in on her: Her husband has died, leaving only collections of specimens and enough pills to keep her out of emotional and psychological pain. Still, she displays some of her characteristic self-centered spark at moments. After noting that the basement in which she sleeps still contains lots of Louis’s and Jimmy’s stuff, she claims it for herself: “It’s mine now. I’ve moved all my favorite things down here” (281). However, once she has swallowed the pills that will end her life, she focuses on the stained-glass shade of one of Jimmy’s old beer lamps, which depicts a canoe on a Minnesota lake. She describes it in poetic terms: “The water shimmers, lit within. The boat travels. I can almost see the fish rise, curious, beneath its shadow” (290). The wistfulness that underlies this reverie is the tragic irony of Sita’s life. While that little boat travels across the lake, Sita never left. Her brief foray into Fargo and modeling yielded no lasting independence, and the need for a provider pulled her back to Argus. Her one brief triumph is in captivating Dot for a moment and thus taking emotional revenge on Mary. Dot is not an easy child to please.

Wallace tries his best with Dot, but she mostly rebuffs his efforts (and, at times, his efforts do come across as a bit desperate). Still, he refuses to give up on her, for she still has that one quality he finds so appealing: “She was not afraid to be different, and this awed me” (302). It is a quality he cannot find in himself, so he becomes ever more attached to the young woman who displays it so naturally. He invents the entire beet festival—the parade, the fair, the crowning of the Beet Queen—especially for her. In retrospect, however, he succeeds only in making her stand out, yet again, for all the wrong reasons. Juxtaposed against the heartbreaking image of Russell Kashpaw—decorated war veteran, hauled onto a float in his uniform and wheelchair—Dot’s struggles seem minor, though related. Russell has become more a symbol than a person, the physical and psychological scars of his military service having rendered him unable to do more than sit and be admired.

Dot’s stint as Beet Queen, farcical as it is, succeeds in bringing Karl back to town and thereby saving Wallace. Her appearance reveals much about everyone’s fundamental character. After all his years of conning and wandering, Karl has grown weary and wants a family; Dot’s turn as Beet Queen will provide the pretext for his return. Through Karl, Wallace will remain connected to his found family. When Mary sees Dot on stage, she thinks that “her niece resembled an ancient pagan goddess,” while Celestine thinks “that Dot looked uncomfortable and maybe desperate” (325). It is Celestine, her mother, who will wait for her in the end. Dot herself displays her characteristic arrogance—“I should have this float to myself alone” (330)—which is subsequently replaced by humility after her discovery of the rigged vote. When the airplane lands, she notes, “I’m so happy to touch the ground that I don’t care” (336). Then, this is replaced by an acknowledgment of unconditional love: “[T]here is someone waiting. It is my mother, and all at once I cannot stop seeing her. […] In her eyes, I see the force of her love. It is bulky and hard to carry, like a package that keeps untying” (337). This describes the kind of love that ebbs and flows between all these characters, the kind of difficult love that transcends even the most incorrigible characters and traumatic events.

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