53 pages • 1 hour read
Tiffany has a full Saturday planned, but when her grandmother asks, she insists that she is not up to much. She reflects that she cannot picture Granny Ruth being her age; Granny Ruth’s husband, Albert, died when Tiffany was young, and ever since, Granny Ruth has missed her conversations with him in Anishinaabe. Now, Granny Ruth asks Tiffany to take the laundry down to the basement; when Tiffany goes down, she notices the carpeted room and thinks about Pierre, who is asleep inside. She approaches and listens but cannot hear any sign of life. She notices that the room is cloaked in an eerie darkness, but before she can peek, Granny Ruth calls for her, so she grabs her jacket and heads out.
Keith returns home without ducks and finds the house in the middle of a power failure. He goes into Tiffany’s room to take batteries from her CD player for the flashlight and finds a progress report sticking out of her history book; it states that she is failing nearly every subject except art. Keith immediately blames Tiffany’s performance on Tony, but Granny Ruth argues that it could be the turmoil at home and Keith’s own treatment of her, which Keith brusquely denies.
Tiffany meets her friends Darla and Kim, who are eating fries at a picnic table and discussing their futures. Darla wants to hitchhike to Vancouver and find a “life,” while Kim wants to become a lawyer, which most people view as ambitious. Each girl thinks the other’s plans are ridiculous. Tiffany, meanwhile, has no concrete ideas for her future. When she arrives, both girls confront her about missing their get-together on the previous night, and although she tries to brush it off; the girls express their anger and observe how absent she has been lately. Eventually, they come to a restless truce.
Darla mentions the commonly held opinion that Tony and Tiffany are an odd couple; this makes Tiffany insecure. Darla then tells Tiffany that Julie Banes, the girl Tony hugged, has a gold bracelet that matches Tiffany’s. Darla also shares that Julie and Tony used to date but broke up because their parents forced them to do so. Suspicious and irritated, Tiffany calls Tony, but he brushes her off and says he is at work. Darla and Kim are gleeful about his behavior, insisting that it is a just reward for Tiffany’s recent behavior toward them. Tiffany leaves, distraught. Kim wonders if they were too mean to her, but Darla just shrugs.
Tiffany takes a long walk back home but takes a shortcut through the backwoods that she will not be late for dinner. She contemplates a conversation from her childhood about God, in which Granny Ruth told her to listen to the world and observe. In the memory, the young Tiffany noticed the sounds, smells, and sensations of the natural world around her, and Granny Ruth told her that God is about those things, saying, “Don’t let anybody tell you God is a man, or a person, or lives somewhere high above. God is a feeling” (110). Tiffany comes back to reality in the dark forest and wonders if Granny Ruth is right. She nears the lake and sees the lights of the off-reserve people across the water. She thinks about Tony and contemplates the rising tensions between the reserve and the people who live around it. Tiffany’s generation is inheriting those tensions, and she fears the prospect of never leaving the reserve.
Suddenly, a voice speaks behind her, and Tiffany jumps; Pierre scares her so badly that she ends up standing in the lake. She is furious with him, but Pierre is unbothered, if apologetic. He tells her that she will dry and that her problems are exceedingly small in the grand scheme of things. Pierre then shows her an old arrowhead he found, which delights her. He tells her that the reserve confuses him somewhat; the lake’s water levels, for example, are too high. She explains that the dams created swamps and affected the lake. He gives her the arrowhead and stands in the wind, seeming at peace; she tells him he is strange, and he thanks her. Pierre offers to walk her home, but she turns him down. Suddenly, Pierre pivots toward the forest, completely focused; he sniffs the air and tells her that a fox has killed a pheasant. Somewhat perturbed, Tiffany runs off. Pierre listens to her run home and ignores his own hunger.
The narrative shifts to two Otter Lake men, Dale Morris and Chucky Gimau. Both are bullies and criminals who live at other people’s expense. They fight for fun and grow marijuana in the woods. Now, they are driving home from the grocery store when they see a man sitting alone on the bleachers. Wanting some fun, they go to confront him. They approach the man—Pierre—confrontationally, but he ignores them, which frustrates them further. Pierre finally says that the bleachers were built on the site of a former sweat lodge. Dale decides that he is “crazy,” but Chucky begins to grow wary, seeing that the man’s eyes are glowing without a source of light to illuminate them. Dale tries to say something to Chucky but realizes that his friend looks terrified; when he turns back, the man has vanished. Chucky tells Dale they need to escape. Their car mysteriously turns on, and they run to the car to confront Pierre, but the car is completely empty. After Dale inspects the car, he stands up and turns and finds that Chucky has vanished as well. Now thoroughly spooked, Dale leaves in a hurry, trying to think of what he should do. He realizes that his rearview mirror is missing, and suddenly a voice says, “You must be Dale” (125).
At the Hunter home, Tiffany and Keith have an intense confrontation about her progress report. Keith grounds her until she gives him better results. Tiffany eats half of her dinner and then retreats to her room. She calls Tony and asks him to come do something with her despite the late hour, and he agrees, even though she is grounded. She slips out the window, hoping to be back before anyone notices her absence. Pierre observes her escape from a tall tree and smiles, succumbing to another memory.
In Pierre’s childhood as Owl, the fur traders fascinated him, and he eventually chose to travel with them to Montreal, wanting to come home with great gifts and knowledge. Eventually, Pierre reached Montreal, where the smell and noise overwhelmed and excited him. He was “given,” in some capacity, to a man going back to France, who surmised that he would survive the journey.
In the present, Pierre stands on the tree and overlooks the land, thinking about how much it has changed. He is starving from lack of blood and grows weaker and less controlled by the day. He observes the details of the world around him, from the activities of squirrels to Keith’s discovery of Tiffany’s absence. Then, he jumps down from the tree.
Tony is strangely quiet during the drive and smells like perfume, but Tiffany brushes off these details. They go to a restaurant that is mostly occupied by truckers and sit at the back, ordering only fries and soda. Tiffany immediately confronts Tony about the gold bracelet, and he grows extremely uncomfortable. When he insists that it didn’t fit his mother, she asks why he gave it to Julie, and he evades the question by complaining about how hard it is to date her because she is an Indigenous person. He says that his father dislikes the fact that Indigenous people do not pay taxes, and he agrees. The hostile tone of conversation escalates, and Tony breaks up with her, condescendingly telling her that she will find someone else. Tiffany becomes overwhelmed with despair at the loss of the one bright spot in her life and the concept of her father saying, “I told you so” (138). She ignores Tony’s pleas for her to calm down and stares at the plate of fries. She then picks up the ketchup and the plate of fries and leaves, ignoring the protests from the waitress and Tony. She puts the entire bottle of ketchup on the fries, walks over to Tony’s car, and throws the plate through the window, destroying the window and the inside of the car. Tiffany orders Tony to pay the waitress and rips the weekah root off his neck, leather thong and all.
A central theme in this part of the novel is isolation. Each character isolates themselves from others, which inadvertently worsens their problems; additionally, each character refuses to see their own problems objectively and instead finds ways to blame their issues on others. Even Pierre, in his own past, isolated himself from his own culture and family by choosing to go to France, foolishly trusting that the French people would let him return home. Although the characters’ various attempts to isolate take different forms, they each fail to see the systemic roots behind their pain. For example, when Keith finds Tiffany’s progress report, he blames Tony, rather than allowing himself to acknowledge how profoundly his own household is falling apart in Claudia’s absence. The main reversal of this situation is with Tony, who notably blames the “system”—the perceived benefits that Indigenous people receive—for his failures as a boyfriend. He blames the broader situational existence of Indigenous people in Canada for his own failures as a boyfriend and his decision to cheat on Tiffany, saying, “Going out shouldn’t be this difficult” (136). While the Indigenous characters face so many systemic problems that they must ignore them outright in order to avoid experiencing overwhelming pain, Tony uses imaginary systemic disadvantages to justify his own personal failings, emphasizing the privilege that he experiences as a white boy in modern Canada.
This section of the novel also establishes the fact that Tiffany is more aware of her environment and lived reality than most people assume her to be. This dynamic becomes clear as she dispassionately assesses the systemic failures that her generation must navigate as tensions rise between the reserve and the external, white community. Similarly, her contemplations about God and nature and the wisdom that her grandmother has told her fuels her deeper struggle to make sense of her own depressive situation. Although many characters discredit her internal depth and capacities, this section of the novel proves that she is intelligent and thoughtful in ways that others often refuse to see. As the narrative states, “She sighed at the mysteries of the world surrounding her and was saddened by the fact she didn’t feel smart enough to understand them” (112). Tiffany’s own self-doubts—bolstered by the negative things she has been told about herself as a teenager and as an Anishinaabe person—obstruct her internal growth, but the novel continually emphasizes that she is not defined solely by her own perceptions or by the perceptions of others. This dynamic also helps the author to construct the multiple conflicts that dominate her world. Her confrontations with her father and with Tony occur because Tiffany lacks control over her life. She cannot control her father’s anger and grief, and she cannot control Tony’s behavior toward her. In this context, Tiffany’s awareness and independent personality makes her lack of agency all the more difficult for her to endure.
The end of this section uses Pierre’s discovery of the arrowhead to introduce the symbol of historical artifacts and support the theme of Juxtaposing Ancient and Modern Lifestyles. When Pierre gives Tiffany an arrowhead, the two characters are still learning about each other, but the arrowhead nonetheless serves as an opening to facilitate the vital communication that will take place between them at the novel’s end. Pierre and Tiffany both believe that they are completely isolated, but their mutual fascination with the arrowhead—symbolizing their shared history and culture—shows that neither character is as alone in the world as they believe themselves to be. As the narrative relays their internal conflicts, it is clear that both Pierre and Tiffany are nearing a point of no return. Tiffany is nearing a mental health crisis, while Pierre is losing control of his mind and body as he starves himself. Their experiences are divergent, but the intensity of their respective suffering forges an unstated connection between them, and this affinity is further emphasized by the arrowhead. The novel thus creates an intense comparison between two completely disparate characters—a centuries-old vampire and a teenaged girl—illuminating the vampire literature genre in a new way. While many vampire novels end in romance, The Night Wanderer posits that a vampire and a teenager understand each other not through romantic connection, but because they each lack perspective on themselves that the other can help them to regain. Tiffany and Pierre need one another because they need to reconnect to their shared humanity. Pierre’s overabundance of experience and Tiffany’s relative lack of it help them to regard their own life histories in new ways.
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By Drew Hayden Taylor
Canadian Literature
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Colonialism & Postcolonialism
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Coming-of-Age Journeys
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Family
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Grief
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Indigenous People's Literature
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Memory
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Mortality & Death
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