Page 18 - GALIET BEING´S FLEUR: Eldrich IV

hand”3⁄4 draws us closer to the implications of Fleur’s drownings and her pregnant journeys into the depths of the lake. We hear Fleur’s flowing streams of “I am a creature of water, of the Lake.” Because she is of water, it is understandable that Fleur’s intuitive maenadic powers diminish in proportion to increased attempts by Nanapush and Pauline to trace and represent her thus irrevocably contaminating her. Her loss of insight is apparent when she tells her partner Eli “of the path that had appeared in her sleep, ...where the deer tracks began” (Erdrich 170) thus failing to lead him to the vital hunting grounds. Her verdant poetic mysteries are further corroborated by Fleur’s minimal “Apollonian” lines 3⁄4 “you might deal me in” (Erdrich 18 and 161) or “stake me” (Erdrich 19) 3⁄4 implicit refusals against interpretation. As if she were saying “you might try to interpret me, place me, yet, in the end, I hold my own cards, my own untraceable verse” (as we shall see later in her bear transformation). Fleur is as trackless as water and as trackless as the Elysian mysteries.
Fleur, by dwelling in-between and outside the narrated lines within Pauline and Nanapush’s mythical realms, transplays from absence into presence. Her dwelling “acts” are reminiscent of a subliminal tango. As soon as her flowing indescribable steps are subjected to interpretation, she untangles herself from the deadly and enigmatic cacophonous “tango tangle” of both narrators by suddenly untangling herself into the fugacious dazzling “eight”: infinitudes. Likewise, Fleur is conscious of the tangle of language when, after much
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