26 pages • 52 minutes read
Terese Marie Mailhot is the narrator and author of this collection of essays. Though not a coming of age story in the traditional sense, Mailhot experiences a similar character arc as she receives a medical diagnosis, earns an education, and learns how to have healthier relationships with her loved ones.
In the beginning of the narrative, Mailhot is tumultuous and full of self-doubt. She desires love but is abandoned by her lover in the wake of suicidal ideation and bipolar episodes. She gives up all her agency in order to love a White man, Casey, which results in a crisis of identity that leads her to be institutionalized. In the hospital, Mailhot receives a diagnosis of PTSD and bipolar disease, which marks the beginning of a journey toward increased self-awareness.
Mailhot’s voyage toward acceptance is a long one, and it’s not linear. She reflects on this in “Better Parts,” as she graduates with an MFA and is finally welcomed into the academic circle as an Indian woman. Education leads to her self-discovery. When her mental illness is given a name, she develops a greater level of self-awareness and accepts that her previous pain is part of her life journey. At the point, she begins to feel more like a valuable woman and less like a “squaw.”
Mailhot’s story ends when she lays her mother to rest metaphorically in the final essay of the collection. By coming to terms with her mother’s death, she can become her own woman, with her own agency. Mailhot’s story isn’t a coming of age tale in the traditional sense, due to its non-linear structure and the fact that it switches between past and present events as Mailhot makes connections between her current behavior with actions that took place in her past. She had to unlearn and accept the traumas of her past as a way to find a new way of being. Heart Berries is about Mailhot’s ability to both embrace her culture and step away from her trauma—to accept pain and chaos as a valuable part of her life.
Casey is Mailhot’s White lover and a former professor. The reader views Casey only through Mailhot’s lens in this collection; his character development is based on her shifting perception of him throughout the memoir.
In the beginning of Heart Berries, Casey is an idealized lover and Mailhot can’t imagine her life without him. When he abandons her in the hospital after her breakdown, she is angry, but continues to idealize him. She needs him in her life because, as a White man and a writer, his love validates her existence and talent. If he chooses her, she is valuable. If he doesn’t, she has nothing.
As the memoir progresses and her relationship with Casey becomes more chaotic, Mailhot begins to self-doubt. Casey seems to value White women more than her, demonstrated through his offering of friendships to White women, which leaves Mailhot feeling inferior, but also causes her to question his worth as a lover and a person. Mailhot sees Casey as a quintessential White man, who can’t understand the depth of her pain and possesses an empty, “impotent” (98) anger. Though she still doubts herself and her worth, she begins to realize he isn’t the idealized person she imagined him to be.
Towards the end of the book, Mailhot considers leaving Casey. She finds power and agency in her ability to come to that decision. By realizing she doesn’t need Casey to validate her existence, she can engage in a healthier relationship with him. Mailhot continues to love Casey, but no longer sees his love as her sole reason for existing. Casey is no longer a romantic hero who has come to save the crazy Indian woman—he is just a man, with his own flaws and desires.
Mailhot’s mother, also called Wahzinak, is a woman of dualities. She is sober but brings alcoholics into her home. She is an activist, but her children are in foster care. She believes in social equity and the value of Native lives, but sometimes forgets to feed her children.
Mailhot reflects on her mother’s nuance to paint a portrait of her struggles, triumphs, and failures. Her mother embraces her traditional culture, sleeping in the woods, bringing healers into her home, and departing for weeks to reflect on her existence. Unfortunately, often her actions lead to abandoning her children for weeks at a time. Wahzinak struggles with love in the same way that Mailhot does. She tries to save drunk men, such as Mailhot’s father, and gives herself away to unworthy lovers. Mailhot admires her mother’s traditional values, but not the way she treated her children. By coming to terms with her mother’s complexity at the end of the book, Mailhot can forge her own path forward and discover her own balance of traditional culture, self-love, and motherhood.
Mailhot’s father, Ken, is a man of contradictions. He is a monster, but he is also someone whom Mailhot deeply loves. Mailhot the potential for her own monstrousness in her father, but she also sees in him her potential to create art. As a drunk artist and child molester, Ken is a difficult figure. Mailhot struggles against his legacy, and against her love for him.
Ken abuses Mailhot as a child. He is a drunk, and his drunkenness brings violence and chaos to their home. Mailhot inspects her own behavior for traces of his flaws, hoping she won’t find similarities. But Ken is also an acclaimed artist—something Mailhot strives to be. He teaches her the patience that comes from making good art, which she embraces in her writing.
As a monster/artist, Ken represents a dichotomy in Mailhot’s collection, and his legacy is one that casts a shadow on her idea of herself. His violent death haunts her, because she sees the possibility of a similar death for herself. Ken is the ghost of what Mailhot could be.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features: