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68 pages 2 hours read

Kiss of the Fur Queen

Fiction | Novel | Adult | Published in 1998

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Symbols & Motifs

Weesageechak and the Fur Queen

Content Warning: This section of the guide includes references to violence, including sexual violence and child abuse.  

In “A Note on the Trickster,” a section preceding the novel, Highway notes that the Trickster—variously Weesageechak (Cree), Nanabush (Ojibway), Raven, or Coyote—is a figure as central to Indigenous belief and culture as Jesus is in Christian cosmology. Comic and clownish, the Trickster spirit's role is to change forms and teach humans invaluable lessons about existence on Earth. One central motif in Kiss of the Fur Queen is the presentation of the Fur Queen as Weesageechak. The Fur Queen appears from the novel’s first chapter to its last, watching over the lives of the Okimasis brothers and sometimes intervening in their experiences, such as when a fur-clad woman hands the brothers tickets to a ballet. The Trickster also appears before Jeremiah as a showgirl-like arctic fox who says things like, “These audiences are too much for me, if you really want to know my little honeypot, they’re a buncha fucking pigs” (231). The Fox-Woman confirms her link to Weesageechak when she tells Jeremiah, “You’re talking to Miss Maggie Sees. Miss Maggie—Weesageechak—Nanabush—Coyote—Raven—Glooscap” (247). At the novel’s end, Gabriel reveals that he has always thought of the Fur Queen in Abraham’s championship portrait as the Trickster.

This unusual presentation of Weesageechak as female is befitting of the novel because it echoes Gabriel’s interest in genderfluidity. As he tells Jeremiah, “If native languages have no gender, then why should we? And why, for that matter, should God?” (312). More broadly, the Fur Queen symbolizes Gabriel, Jeremiah, and writers like Highway creating their own hybrid idiom and keeping Cree language and traditions alive in newly forged metaphors.

The question may arise why the Fur Queen simply witnesses the suffering of the Okimasis brothers rather than preventing it. However, the Trickster’s job is as a guide rather than a savior. The Trickster is an ambiguous figure who challenges traditional notions of good and bad. Thus, the Fur Queen upends Christian notions of sin, reward, and a judgmental God. In some tales, the Trickster even brings about human mortality, because immortality would mean humans enveloping the planet and starving all beings of resources. The Trickster’s function is first and foremost to bring balance.

The Weetigo

The Weetigo is a recurrent symbol in the text, associated variously with sexual abuse, cannibalism, colonialism, and the cost of development on Indigenous communities. In Cree and other Indian mythologies, the Weetigo—also known as Wendigo, Windigo, or Wetiko—is a malevolent spirit that kills and eats its human victims. Human beings can sometimes turn into the Weetigo, cannibalizing their fellows and driving other humans away. Thus, like the forces of colonization, the Weetigo turns human away from human and tears apart communities.

When Father Lafleur assaults Gabriel, the novel describes him as a “Weetigo feasting on human flesh” (93). Later, a child tells Jeremiah that a Weetigo ate him, indicating sexual abuse. Gabriel even thinks of himself as a Weetigo among the sea of five- and six-year-old girls in his ballet class, indicating his sensitivity to the precious innocence of children. As Gabriel lies dying, he hallucinates about his abuse, the Weetigo coming at him “with its tongue lolling, its claws reaching for his groin” (313). The conflation of the Weetigo with a rapist of children adds an additional layer of evil to the traditional malevolence of the Weetigo.

The Weetigo also appears in conjunction with the city and the destructive forces of urbanization and development. Gabriel recalls the story of the weasel defeating the Weetigo while the brothers are inside a mall—a symbol of consumerist greed. In the same mall, Gabriel and Jeremiah gorge themselves on excess food, mimicking the rapacious greed of the Weetigo. After they leave the mall, the building rears behind them “grey and soulless […] the rear end of the beast that, having gorged itself, expels its detritus” (121). The mall, and all it represents, is a modern-day Weetigo eating away at people’s souls. Later, when television comes to Eemanapiteepitat, the narrative cynically wonders if TV is the Weetigo “finally arrived to devour, digest, and shit out the soul of Eemanapiteepitat” (187). In Dispelling Wetiko: Breaking the Curse of Evil (2013), Paul Levy notes that the myth of the Weetigo serves as a reminder for people to exercise moderation. Any human being who participates in greed and excess can turn into a Weetigo, cannibalizing others. This greed can extend to a gobbling up of resources, land, languages, culture, or children’s innocence and bodily autonomy. Thus, the Weetigo is a powerful symbol of the idea that evil and excess are bound inextricably.

The Crucifix and Other Christian Symbols

The Crucifix, the image of Christ’s tortured form, the crown of thorns, and the wine and wafer representing his body are ambiguous symbols in the novel, denoting the union of violence and sexual pleasure as well as the postcolonial worldview of the Okimasis brothers. Even though Gabriel and (eventually) Jeremiah reject Christianity, Christian symbols populate their world, from the rosary Mariesis holds to the Polish Christian statues in their landlady’s parlor. Abraham and Mariesis are devout Catholics for whom communion and mass are important rituals. At the same time, Gabriel identifies the Crucifix with Father Lafleur’s abuse, often vividly recalling the touch and taste of the silver cross Lafleur wore while assaulting him. Further, the torture of Christ for him symbolizes his own pain and suffering. Even when engaged in pleasure, Gabriel imagines “his orifices punctured and repunctured, as with nails” (158), a reference to the nails driven into Jesus’s hands and feet during crucifixion. This startling image positions Christianity as violating Gabriel, warping his personality so that he cannot experience sexual pleasure in a so-called “normal” way. Jeremiah too sees Gabriel kissing Gregory as “Gregory Newman nailed to his brother, by the mouth” (218), indicating how Christianity has muddled his perception of sex and sexuality.

The conflation of Christian symbols with sexual violence doesn’t mean that the text critiques the teachings of Jesus; rather it indicts institutionalized Christianity for violating Cree culture. With Christianity positioned as a superior religion, the colonizers “must” turn the Cree against their own spiritual beliefs. This is why Father Lafleur’s painting of Hell depicts dark-skinned people singing and dancing—practices central to Cree rituals. Evangelizing Christians do not stop to consider that some of their commandments are so antithetical to the existing beliefs of Indigenous people as to create psychic fissures in them, such as when Gabriel gags at the thought of eating Jesus’s body like a cannibalizing Weetigo. In this context, Christian symbols come to represent oppression, subjugation, and violence to Gabriel, Jeremiah, and the Cree people.

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