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The narrator is in Innuinaktun class, which she hates and in which she does badly. The teacher is an unpleasant man who experienced abuse in residential schools. Her mother does not speak to her in Inuktitut, having attended residential schools that forbade it. The narrator worries that much of her culture has been lost to Christianity and so-called progress.
The narrator has vivid nightmares in which the devil tortures her and other people while she is powerless to stop it. She believes that “people try to hide from themselves” and that this is disrespectful to the spirit (60). She can see past the pretending into people’s true spirits.
An untranslated Inuktitut passage follows.
The narrator walks home from school but finds a raucous party underway. She continues walking to the sea, where she lies down on the ice and ceases to experience time in a linear fashion. Though she is cold, she sings to the Northern Lights, hoping to “coax [them] out of the sky” (64). As she sings, the Northern Lights come closer, and she feels them calling to her. In the Northern Lights, she sees the faces of her ancestors and children yet-to-be-born and feels immense gratitude. The Northern Lights disappear. Freezing and with her coat unzipped, the narrator wakes from what she assumes was a dream. When she returns home, she blows her nose and finds a squirming “bright and glowing green substance that the Northern Lights have left in [her] head” (66).
This section ends with an untitled poem about the tapestry of history, woven with deception. The narrator wants to weave a new story that she and her people control.
The narrator and her father cull the overpopulated foxes in their area to keep the population down. The narrator mourns them, but knows that they are mercy killings that will save many foxes from starvation the next winter. She dreams about killing a mountain of foxes and enjoys it. In her dream, she walks a path guarded by gigantic polar bears. They let her pass but stop planes in the sky from entering their domain.
A very short poem discusses the narrator’s connection to her land.
In an abstract dream sequence, the narrator wanders through a place without sky or earth. She finds a figure at her feet; they are being tortured, their skin repeatedly flayed like a caribou’s. The narrator can only watch.
An untitled poem explores the loss of “Deep Knowing” and the connection between two people.
The narrator drives a snowmobile alongside a frozen river toward a distant two-story house. She knows she is dreaming because no one has such a big house in Cambridge Bay. Inside, the narrator’s brother is cooking. He has the head of a raven. She hears a strange sound and follows it downstairs. Outside, she sees a fox. The fox gets closer, and the narrator sees that he is the size of a man. Fox speaks telepathically, telling her to let him inside. She learns that the raven queen cursed the fox clan 200 years ago because Fox was greedy and ate all the lemmings. The narrator lets Fox inside and performs oral sex on him to cleanse him of the curse.
An illustration of a white fox walking on its hind legs follows.
An untitled poem describes memories of exploring the Arctic with an unnamed companion whom the narrator cares about deeply.
The narrator is in a sex education class at school. She is insecure that she has not yet grown breasts, but Best Boy has started to notice her. Spring returns to the land, bringing warmth and sunshine. The narrator wonders what life in the Arctic was like before Europeans came and brought Christianity with them. She imagines a time before “Christian Rules, Blind Faith, and Shame” (85), which she believes destroy people and the world.
An untitled poem describes the cyclical nature of life: Things are born from the earth, and when they die, they go back into the earth in an eternal life cycle.
The narrator and her friends smoke cigarette butts found on the ground and play a game until it goes awry. The narrator leaves with a friend; they sleep at her uncle’s house. The friend’s uncle has an abusive girlfriend who beats and berates him until he beats her back, giving her “the proof that she deserved to be beaten” (89). The two friends hear this happening and lie still to avoid discovery. When all is quiet, they leave the house. The narrator sees the uncle and his girlfriend asleep together. There is blood everywhere. She and her friend never mention that night again.
An untitled poem discusses pain, both self-inflicted and inflicted on others. The narrator describes pain as a “doorway into the next realm” and concludes that people need nurturing (91), not pain.
In “1982,” the narrator is 17 and has recently returned home from a residential school after an attempted suicide. She goes to a party at her friend’s aunt’s house, where she sees the teacher who used to sexually abuse her. He is very drunk. She gets him alone outside and hits him. When he stumbles, she nudges him so he falls down the stairs. She and her friend run laughing from the party, feeling free.
The narrator recounts the story of Sedna the Sea Goddess. Sedna and her father live on the ice alone. When it is time for Sedna to marry, her father looks for a worthy husband for her. Sedna rejects all her potential suitors, and her father agrees to let her marry when she is ready. Her lead sled dog is a shapeshifter, and the two sometimes have sex. She becomes pregnant, making Sedna’s father furious. He decides to put Sedna to death and takes her out to sea in his kayak. He throws her into the ocean, cutting off her fingers when she clutches at the side of the boat. Sedna sinks to the bottom of the ocean, and her blood transforms into sea creatures that give her the ability to breathe underwater. Sometimes Sedna prevents sea creatures from surfacing so humans cannot hunt them. To placate her and prevent starvation, a shaman must travel to the bottom of the ocean to comb her hair. The narrator wants to tell Sedna to keep her creatures; humans are too greedy. She wonders what Sedna will do “when she hears the seismic testing” occurring in the area (96).
The narrator has a job stocking shelves at a grocery store. Her crush on Best Boy grows. On her way to school one day, she sees a fox. They stare at each other for a long time. The narrator sends feelings of peace toward the fox and steps closer to him. In the distance, children shout, and the fox darts away, spooked. The narrator resolves to find out what he wants next time.
The section concludes with a poem about teeth.
The narrator sometimes conflates Innuinaktun with Inuktitut. The two languages are closely related, and many consider Innuinaktun a dialect of Inuktitut. This section includes a short, untranslated passage in Inuktitut. The decision to leave this section untranslated means that this part of the book is only accessible to those who read Inuktitut. This decision indicates that the author centers the Indigenous experience over English-language, colonial perspectives in the story. In its inaccessibility to the presumed English-speaking reader, it also evokes the disconnect Indigenous communities experience with their languages, which have become endangered due to colonial practice.
This section heavily features the theme of Reality and the Spirit World. The figure of the fox illustrates the connection between the two, appearing and interacting with the narrator in both. The narrator’s dream about the fox’s curse mirrors her real-world task of killing foxes due to lemming overpopulation. Her dreamed sexual contact with him is the first consensual experience she has in the text. She cures his curse in the dream world, kick-starting her own healing and suggesting a connection between what happens in the spirit and real worlds. The Arctic landscape also strongly connects reality and the spirit world. The Northern Lights, for example, are a natural phenomenon that produces a striking, otherworldly visual effect. The narrator has intense dreams under the lights, but when she wakes, her body bears evidence that her dream was at least partly real. This foreshadows later events.
Dream sequences become more common in this part of the narrative. As the narrator’s real life becomes grimmer, she seems increasingly connected to the spirit world around her, suggesting spirituality is a tool for Surviving Trauma and Abuse. It is significant that the author skips over the narrator’s time at her residential school and subsequent suicide attempt; the choice suggests the traumatic nature of these events, but it also keeps the focus squarely on Inuit culture. The narrative thus picks up when the narrator has returned to her ancestral homeland and begins dreaming of the spirit world. In addition to foreshadowing the second half of the book (e.g., the narrator’s pregnancy), Sedna’s story suggests that the spirit world offers healing not only from individual trauma but from violations of the land and of Inuit lifestyles, here represented by seismic testing. This is appropriate given the novel’s depiction of the two forms of trauma as interconnected.
Trauma also relates to the process of Repeating and Breaking Cycles. The arrival of Christianity in the Arctic caused a major rupture in Inuit life cycles, and the narrator equates Christianity with rules and shame. She finds Christian narratives of Hell particularly offensive. In some of her visions, such as her dreams of the devil or the person being endlessly flayed, the narrator gets stuck witnessing cycles of torture not unlike Christian ideas of Hell, foreshadowing the end of the story and suggesting the lasting “afterlife” of colonialism. Similarly, the narrator struggles to learn Inuktitut and notes that her mother, forced to speak English at residential school, no longer speaks it either. This suggests colonialism broke the cycle of Inuit language transmission.
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