68 pages • 2 hours read
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
Jeremiah’s play is now titled “Barcarolle Ulysses Thunderchild” and embraces the magical elements of Cree reality rather than shoehorning the latter into a Western-style concert. Gabriel listens to the play on his headphones while at a clinic for blood tests. After leaving the clinic, Gabriel is propositioned by a leather-clad man and has sex with him in exchange for money. The money is enough for him to get a costume for Jeremiah’s play.
Later, Gabriel meets Robin. Taken with each other, the two men visit a park, singing and dancing. Still later, Gabriel prepares for a performance, hiding the blemish on his neck with makeup. He tells Robin not to disclose the results of his blood tests to Jeremiah.
The first reviews come in for Jeremiah’s play. Amanda reads out a review that says that the play’s image of a Weetigo shedding his costume to reveal a priest’s cassock seems arbitrary. Jeremiah doesn’t understand the criticism until Gabriel gently explains, “You didn’t say it loud enough” (285). Gabriel’s comment forces Jeremiah to recall memories he has repressed. Back at school, a voice asks Champion-Jeremiah to get up from his bed. The boy sleepily follows the voice to a chair where Father Lafleur is sitting. The priest unbuttons his cassock and brutally rapes Champion-Jeremiah. Unable to process the violence, the child thinks it is punishment for speaking in Cree and promises to himself to always speak in English.
Jeremiah is in Eemanapiteepitat working on his second play, which is inspired by Anne-Adele Ghostrider’s tale of the starving of the Cree and the arrival of the priests in Mistik Lake. Mariesis is enjoying her twilight years with all the surviving older folk of the reservation for company. Black-eyed Susan Magipom is allowed back into the Okimasis home now that Abraham is dead. Mariesis keeps asking Jeremiah if he and Gabriel continue to observe Catholic ritual. Jeremiah evades the question.
Gabriel’s health is falling. Jeremiah notes his little brother gets soaked in perspiration during rehearsal and takes many pills. Jeremiah wants to know about the pills, but Gabriel cannot explain yet and lies that they are just vitamins.
In Jeremiah’s second play, “Chachagathoo the Shaman,” Gabriel’s Migisoo the caribou hunter wails for God to send the Cree caribou because his people are starving. The Weetigo appears, tempting the caribou hunter and possessing him. The play opens to rave reviews. However, Gabriel is now on a respirator, his lungs choked by an infection. The doctor tells Gabriel he can live for another 15 years if he is careful, but on his way back from the clinic, Gabriel again indulges in risky sexual behavior.
“Chachagathoo the Shaman” generates its share of controversy, especially agitating the Canadian clergy. Meanwhile, Gabriel finally tells Jeremiah he has AIDS. Jeremiah wants to tell their mother, but Gabriel is extremely reluctant. Delirious with fever, Gabriel dreams of an arctic fox, an angry old man, and a Weetigo-like figure. He hits Jeremiah in his delirium, reliving the trauma of his childhood abuse.
Gabriel asks Jeremiah, “Who do you think met Dad on the other side? Jesus? Or Weesageechak?” (298). Gabriel is in a hospital bed, connected to many IVs. Gabriel decides it must have been Weesageechak, “the clown who bridges humanity and God—a God who laughs” (298). This clown or trickster must be dressed as the Fur Queen and could be a woman: Indigenous languages don’t have gender, so Gabriel wonders why Weesageechak or even God should. Gabriel’s last wish to Jeremiah is that no Catholic priest come near his bed, though Mariesis can have her “Catholic mumbo-jumbo” (299).
Mariesis is on her way to her youngest son’s deathbed, carrying Annie Moostoos’s last tooth, which she has sent as a good luck talisman for her godson. Close to death, Gabriel dreams of Weetigos and Father Lafleur. When Mariesis finally reaches Gabriel, she places a crucifix on his chest, unaware of what the symbol signifies for him. Gabriel reassures Jeremiah that he hasn’t failed him and reminds Jeremiah of the time he saved him from the caribou stampede. What Gabriel wants for Jeremiah is to “be joyful.” Realizing Gabriel is about to pass soon, Mariesis screams at Jeremiah to get a priest.
The “priest” Jeremiah gets is Anne-Adele Ghostrider, who finally makes it to the hospital through a snowstorm and replaces the rosary in Gabriel’s hand with an eagle feather. The medicine-woman lights a braid of sweetgrass and waves the smoke over Gabriel, who is being held by Robin Beatty. The smoke sets off the fire alarm, and the hospital staff pound at the door to Gabriel’s room, requesting that the ritual be stopped. Mariesis joins them, telling Amanda to open the door or Gabriel will go to Hell. She has a Catholic priest in tow.
Asserting that Indigenous people have the right to conduct their rituals just like everyone else, Jeremiah opens the door to pull in his mother and then locks it. Gabriel’s hallucinatory visions begin to resemble Abraham’s memories as he approached the end of the championship race. As Mariesis struggles against Jeremiah’s grip, the Fur Queen enters the room, lays her cape over Gabriel’s bed, and kisses him. Rising from his body, Gabriel floats off with the Fur Queen. The arctic fox on the Fur Queen’s cape seems to wink at Jeremiah.
The novel ends on its 49th chapter in homage to a “forty-niner,” a traditional celebratory cycle. Its celebratory tone shows that Gabriel’s death should not be mourned. This is in line with Gabriel’s injunction to Jeremiah in Chapter 48: “Be joyful.” Further, the novel ends with a wink, implying that all of life is a trick to be enjoyed. However, though the narrative ends with themes of healing and reconciliation, this does not mean it denies the tragedy of Gabriel’s death or resolves all conflicts in the Okimasis clan: For instance, Jeremiah has to restrain Mariesis so she doesn’t stop Anne-Adele Ghostrider’s “pagan” ceremony. What the narrative does promote is acceptance of life in all its facets, tragic and comic. Such acceptance is easier when our notion of time expands beyond the linear. Gabriel’s death melts into Abraham’s dogsled race, suggesting that memories are shared through generations. If so, Gabriel’s reality will continue in Jeremiah’s.
Gabriel may suffer physically in this section, but he also shows psychological growth, as his relationship with Robin reflects. When the two meet, Gabriel doesn’t have sex with Robin in exchange for money; instead, the two men “tripped out of the Garden Baths, skipped across the boulevard, and [went] singing, sliding, and dancing through a park aglitter with moonlight and ice” (283). The description suggests Gabriel’s relationship with Robin is unlike his more transactional association with Gregory. Further, the image of two carefree young men or boys laughing in a winter wonderland recalls Gabriel’s idyllic childhood with Jeremiah, the best time of his life.
Jeremiah’s grows the most as a character after he confronts his own rape by Father Lafleur. The narrative has so far only hinted at this abuse, almost as if respecting Jeremiah’s hesitation. Its arrival late in the text gives great power to the horrifying revelation, but by remembering the rape, Jeremiah rids himself of the secrecy and shame around it and sees Father Lafleur for his true monstrous self. No longer bearing the weight of misplaced shame, Jeremiah now returns to music uninhibitedly, combining it with drama and storytelling. Migisoo, the eagle that made him so uncomfortable at Wsaygichak Hill, is now the name of his central character, and his new play doesn’t exist in the referential context of Western literature.
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