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Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
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Gabriel, who has never helped anyone in his life, is unsure how to help his older brother. He decides to take Jeremiah for a camping trip in Ojibway country, where a powwow is taking place at Wasaychigan Hill. In the dancing field packed with people in traditional gear, the brothers come across Ann-Adele Ghostrider. While Jeremiah feels his old unease at the sight of the dancers, Gabriel wants to participate but doesn’t know the steps of the wild, free performance. He promises himself he will learn the Round Dance.
That evening, Ann-Adele Ghostrider tells a story by the campfire. When the Indians near Mistik Lake were hit by hunger and disease, missionaries arrived to offer them hope if they converted to their religion. The shaman Chachagathoo warned the people to be patient: K’si mantou, the Great Spirit, would protect them. However, when one starving man was possessed by Weetigo and then attacked another, a Christian priest declared the man possessed by Satan. The shaman opposed him and began to exorcise Weetigo, but the priest stopped her and the man died. Accusing the shaman of witchcraft, the priest sent the shaman to jail in Winnipeg. The despairing shaman hanged herself in the prison. The story shocks Jeremiah and Gabriel since in their parents’ version Chachagathoo was evil—a witch. However, Ann-Adele Ghostrider tells them that “Chachagathoo was the last shaman in that part of the world, the last medicine woman, the last woman priest!” (247). Unable to take the overturning of his reality, Jeremiah excuses himself. Meanwhile, Gabriel is struck by a radical idea: If bad dream power could end a human life, couldn’t mithoopoowamoowin, or good dream power, save one?
Gabriel finally locates his drunk brother in a field in the middle of a forty-niner, an Indigenous celebratory session where “drink, drugs, and song [sweep] senses to a plane where dreams loom […] clear, visceral” (249). Meanwhile, a group of drunk men recognize Gabriel as a famous ballet dancer and make anti-gay comments about him. Gabriel looks to Jeremiah for help, but Jeremiah walks away, embarrassed to be associated with “a pervert.” Gabriel holds his ground and is surprised to discover that fear rather than hatred drives the men’s hostility: He wonders whether seeing him reminds them that they too can be feminine, and why femininity scares them.
A drunk and delirious Jeremiah feels he is being chased by a repulsive, drunk old woman. To escape her, he climbs onto a picnic table as she hisses at him to get down. She climbs next to him as if to devour him, wearing a crown and white fur coat. As her makeup begins to crack, Jeremiah realizes the woman is Amanda Clear Sky, there on her grandmother’s invitation.
Amanda’s house is filled with “drink-mad Ojibways” headed by her widower father Alodius Clear Sky (255). When Amanda tells her father “Jeremiah is the first Indian concert pianist in the history of the world” (255), Alodius urges Jeremiah to play the family’s old, battered piano. However, the crowd doesn’t have an ear for the “whiteman music” Jeremiah plays and asks Alodius to play some real music instead. The crowd’s reaction confirms Jeremiah’s hunch that his Cree heritage doesn’t mix with his passion for classical music. Meanwhile, Amanda shows him a passion of her own that she has been pursuing: acting in an Indigenous soap opera called Tender is My Heart.
Jeremiah and Amanda lie in bed together in a motel room, watching the cassette tapes of the soap opera. Amanda’s character, a housewife called Dorothy who is leaving her cheating husband Jake, speaks in a mixture of Cree and Ojibway to appeal to a broad audience. As Amanda and Jeremiah laugh over the scenes, Jeremiah wants to be intimate with Amanda but feels inhibited. It is only when they begin miming a scene where Jake is hitting Dorothy for trying to leave him that Jeremiah begins to make love to Amanda. He realizes that watching and thinking about misogynistic violence arouses him—a fact that makes him feel sick.
This section continues to develop the importance of Indigenous legends and history for Jeremiah and Gabriel’s healing and to depict Gabriel’s growth following Abraham’s death. It also explores Jeremiah’s growing kinship with other Indigenous people, including Amanda and her family. Significantly, Gabriel takes Jeremiah to a powwow to help him recover from his spiritual crisis. Here Jeremiah again encounters women as guides: Anne-Adele Ghostrider, the Fox-Woman, and Amanda Clear Sky. The women, the lush landscape of Ojibway country, and the ritual drums of the powwow help Jeremiah and Gabriel connect with Migisoo, or the eagle, messenger between God and humans. The coming of the Migisoo in Chapter 38 signifies that hope is still at hand for Jeremiah and Gabriel if they open their hearts to shared memories and stories. The same chapter explores the true story of Chachagathoo—a revelation so paradigm-shifting for Jeremiah that it sends him on another drunken spree. For Gabriel, the story ignites the important idea of using mithoopoowamoowin, or “good dream power,” as an antidote to bad dream power. In the context of the truth of Chachagathoo it becomes obvious that the real bad dream power—just as the child Gabriel had suspected—is what the settlers have done to Canada’s Indigenous peoples. However, these peoples still have agency; they can reclaim and recreate their reality by telling their own stories.
While the Wasaychigan Hill powwow releases something in Gabriel, Jeremiah is still frozen in inaction and cowardice, as is obvious when he fails to defend Gabriel from bullies. This passivity mirrors his inability to have sex with Amanda. The fear of femininity that Gabriel surmises motivates his bullies also parallels Jeremiah’s (unwilling) misogyny in this scene. In a story in which violence against Indigenous women often stands in for colonialist violence in general, misogyny is a kind of internalized racism that female or feminine figures like the Fur Queen hold the key to overcoming. The novel therefore suggests that Jeremiah is still awaiting a breakthrough before becoming fully himself. The vestiges of unprocessed trauma still hinder this evolution.
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