The Great Bear

“The animal beings had enough to eat now, and eat they did, but just enough and never more. They would never fall into the sort of greed they had observed in Mason, the man who had stolen the summer birds. They ate only their fill, and kept stores of food for the White Time.”

The structure of the sentence “The animal beings had enough to eat now, and eat they did, but just enough and never more” is an example of chiasmus, a reversal in the order of words in two otherwise parallel phrases. This structure emphasizes the balance and moderation in the animals’ behavior.

The phrase “They would never fall into the sort of greed they had observed in Mason” is a clear moral juxtaposition, contrasting the animals’ moderation with Mason’s greed. This comparison serves as a moral allegory, highlighting the idea of greed versus sustainability.

“‘He’s not really gone, though, dear one,’ Muskwa said. ‘To live in the hearts of others is not to die.’ ‘And he’ll live on through stories and all that crap, I know.’ Now a burning feeling came, right where her heart was. She sat up as though jump-started. ‘That doesn’t mean he’s actually alive, Muskwa!’”

Muskwa’s words “To live in the hearts of others is not to die” are an aphorism. This aphorism addresses memory and legacy, suggesting that one’s influence and essence persist beyond physical existence. It’s a common motif in literature that explores loss and remembrance.

The response “And he’ll live on through stories and all that crap, I know” is a blend of cynicism and resignation, contrasting with Muskwa’s philosophical calmness. This contrast is an example of antithesis, where opposing ideas are juxtaposed to highlight their differences. The character’s dismissive tone, particularly the use of “all that crap,” underscores her struggle to reconcile intellectual understanding with emotional pain.

“When simply being cozy didn’t help, she tried all sorts of things. Deep breathing. Clearing her mind. Even counting up to a hundred, twice. None of it worked.”

The series of actions––“Deep breathing. Clearing her mind. Even counting up to a hundred, twice”––employs asyndeton, a literary device where conjunctions are omitted between phrases. This stylistic choice creates a sense of rapid, almost desperate progression through different methods of calming oneself. Each phrase is concise and factual, emphasizing the mechanical nature of these attempts rather than any emotional engagement with them.

“Strands of black hair from Eli’s head, escaping from his braid, were like lonely blades of sweetgrass in the southern woods. Morgan knew that the braid was sacred, just as the sweetgrass they picked at the banks of the river on Askí was sacred.”

The comparison of “strands of black hair from Eli’s head, escaping from his braid,” to “lonely blades of sweetgrass in the southern woods” is a metaphor. This literary device draws a parallel between Eli’s hair and sweetgrass, both of which hold cultural significance in many Indigenous cultures, the latter of which is used in ceremonies and known for its cleansing and healing properties. The metaphor paints a picture and imbues the description with a deeper meaning. The choice of “lonely blades” evokes a sense of isolation and vulnerability, reflecting Eli’s feelings or experiences at that moment.

“Morgan’s heart began to jackhammer. She felt as though her hoodie was vibrating for everyone to see. Thump, thump, thump, thump, thump, thump, thump. But her chest wasn’t burning. She did not feel anger. She didn’t know what she felt. She took several deep breaths that did not help whatsoever.”

The phrase “Morgan’s heart began to jackhammer” employs imagery, metaphorically comparing her rapidly beating heart to a jackhammer. This comparison conveys the intensity of her emotional state, suggesting a feeling of overwhelming anxiety or nervousness.

Onomatopoeia is evident in “Thump, thump, thump, thump, thump, thump, thump.” This repetition of sound words mimics the sound of a beating heart, enhancing the sensory experience and conveying Morgan’s emotional state. It creates a rhythmic pattern that mirrors the physical sensation of a heart pounding.

“There was her mother, rocking her, Morgan, as a toddler. There was her mother, humming a song to keep her calm. There was her mother, saying that word to her in Cree. ‘Kiskisitotaso.’ Don’t forget about who you are. There was Morgan being taken away by two strangers, her mother being held back.”

Repetition and/or anaphora are used with the phrase “There was her mother,” which begins several sentences. This repetition emphasizes the importance of her mother in these memories and creates a rhythmic effect, mirroring the rocking motion described in the scene. It also underscores the loss and longing Morgan feels.

The use of specific diction, particularly the Cree word “Kiskisitotaso,” meaning “Don’t forget about who you are,” is significant. It highlights the importance of language in preserving cultural identity and memory. This word, spoken in her mother’s native tongue, symbolizes Morgan’s heritage and the bond between her and her mother. It’s a reminder of her roots and the parts of her identity that are inextricable from her cultural background.

“Beating up bullies is just being a bully too.”

Antithesis is evident here. The structure creates a clear opposition between two actions, highlighting the irony and moral complexity in responding to aggression with aggression. The phrase challenges the conventional response to bullying by suggesting that reciprocating violence merely perpetuates the cycle rather than resolving the underlying issue.

Moreover, the statement serves a didactic purpose, i.e., characteristic of moralistic or ethical lessons found in literature. It conveys a message about the nature of violence and retaliation, encouraging the contemplation of the consequences of their actions and the importance of breaking cycles of aggression.

“Morgan sat beside him. She reached down and picked up the braid. It fell apart in her hands and spread over her palms like pooling water. The only thing keeping it together was the dark brown hair tie at one end.”

Metaphor is evident in the comparison of the braid falling apart into “pooling water” in Morgan’s hands. This imagery portrays the disintegration of something once cohesive and strong. Water, being fluid and uncontrollable, symbolizes the loss of structure and unity. It suggests a sense of something precious slipping away, beyond the grasp of the protagonist. This metaphor extends beyond the physical description, touching on themes of loss, disconnection, and the fragile nature of identity.

“They would walk home, but not really. Their home was Misewa, and there would be no Misewa tonight. After what had just happened, that’s exactly where they both needed to be. What were they supposed to do now?”

Irony lies in the statement “They would walk home, but not really.” This juxtaposition of walking home—which is traditionally associated with a return to a place of comfort and belonging—against the realization that their true home feels inaccessible creates a contrast. It highlights the internal conflict of the characters, who are physically in one place but emotionally and spiritually connected to another.

The rhetorical question “What were they supposed to do now?” further intensifies this feeling of disorientation and loss. It invites empathy with the characters’ dilemma, caught between two worlds, neither of which can fully satisfy their need for belonging and understanding at that moment.

“The walk home was quiet, the silence broken only by honking cars, the groan of a city bus, a yapping dog behind a white picket fence, and Morgan and Eli’s footsteps.”

The juxtaposition here is between the quietness of their walk and the typical city noises. The quietness reflects the characters’ internal states, suggesting introspection or a somber mood. In contrast, the bustling city noises represent the external world, busy and indifferent. This contrast highlights the characters’ isolation or detachment from their immediate surroundings, emphasizing their disconnection or alienation.

Personification is also used to describe the city’s sounds. For instance, the “groan of a city bus” personifies the bus, giving it a human-like quality of groaning. Groaning expresses weariness or discomfort. By attributing this human action to the bus, the setting is made more dynamic and almost functions as a character.

“She could see the Big Dipper constellation, the earth counterpart of Ochekatchakosuk. Its bowl, its crooked handle. Its tail. Ochek’s tail. Broken by Mason’s arrow. Ochek, placed in the sky to honor his sacrifice.”

The Big Dipper constellation, known in the story as Ochekatchakosuk, is a symbol that connects the earthly realm with the celestial. It symbolizes not just a group of stars but an embodiment of Ochek and his story. The constellation’s portrayal as having a bowl, a crooked handle, and a tail resonates with the character’s attributes and fate, especially the mention of the tail being “broken by Mason’s arrow,” which directly links a celestial feature with a narrative event from The Barren Grounds.

This linkage illustrates the use of allegory, where characters and events in the story are mirrored in the stars, suggesting a parallel between the human and the cosmic. It blends the physical reality with the mythic, attributing human experiences and stories to celestial phenomena. This allegorical representation strengthens the connection between the earthly and the spiritual, a common motif in Indigenous storytelling.

“There was the Barren Grounds and its desolate landscape stretched out before them. There was the forest lining the horizon with its diverse population of trees—jack pine, tamarack, balsam fir, white spruce, paper birch. Even from a great distance, it called to her and was beautiful.”

The description of the forest “calling to her” is an example of personification, attributing human-like qualities to the forest. This literary device deepens the connection between the character and the natural world, reflecting a theme often found in Indigenous literature where the environment is not just a backdrop but a living, interactive part of the story.

Furthermore, the contrast between the desolate Barren Grounds and the richly described forest showcases a dichotomy, a literary device that highlights the difference between two opposing elements. This dichotomy is not just physical but also symbolic, representing different aspects of the characters’ journeys and the challenges they face.

“As soon as the children were through the portal, and they’d moved away from the area where earth’s time spilled into Askí, Morgan lunged forward with the sort of quickness she’d seen from Arik and wrapped her arms around Ochek.”

The reference to the portal and the transition from Earth’s time to Askí’s time creates a sense of otherworldliness. The portal is a symbolic threshold, not just between two physical places but between different realities and experiences. This shift in setting underscores the theme of journeying between worlds and the characters’ connections to different cultures and environments.

“The stories we tell here aren’t fantasies. They’re real, all of them.”

This statement uses antithesis to contrast the concepts of “fantasies” and “real.” By juxtaposing these two ideas, the quote highlights the common misconception that stories, especially those of a mythological or cultural nature, are purely fictional. The antithesis emphasizes the realness and tangibility of the stories being told, underscoring their relevance.

“The whole idea of time travel was dizzying, even more now that they’d actually done it. Morgan worked hard to make sense of all her thoughts on the subject as they swirled around in her brain like snowflakes in a blizzard.”

The metaphor of thoughts swirling “like snowflakes in a blizzard” conveys the chaos and confusion Morgan experiences. Here, each thought is likened to a snowflake, individual and intricate, yet part of a larger, overwhelming storm of contemplation and bewilderment. This metaphor illustrates the complexity and disorienting nature of her thoughts.

“When you know a place in this way, when you know it before you’ve seen it, it’s called blood memory. That’s why you are welcome to stay here. That’s why you must stay here. Will you stay, little ones?”

Blood memory, as used here, is a symbolic representation of the intrinsic connection one has to their heritage, ancestry, and cultural roots. It suggests that knowledge and understanding of one’s origins can be inherent, passed down through generations, beyond conscious memory. “Blood memory” in this context can also be interpreted as a cultural allusion. Cultural allusions refer to indirect references to specific cultural concepts, beliefs, or traditions that carry deeper meanings within a particular culture.

The rhetorical question “Will you stay, little ones?” is a persuasive device that invites reflection on the significance of accepting one’s heritage. This question adds a personal and intimate tone to the dialogue, emphasizing the importance of the decision to embrace one’s cultural roots.

“‘When Amisk chews at the trunk of a tree, the tree falls. The trunk is broken, and in its brokenness, it reveals itself. The tree does the same when it’s chopped down to provide for us. Our houses, our meat racks’—the Chief patted the handle of his cane—‘a walking stick for an old marten like me.’”

Amisk (a beaver) chewing at a tree trunk symbolizes the natural processes and cycles within the environment. This action can be seen as a metaphor for transformation and change, essential aspects of both nature and human existence. The tree’s fall and its subsequent use by humans represent the cycle of life and death, as well as the utilitarian relationship humans have with nature. The phrase “in its brokenness, it reveals itself” is a metaphor for how events or experiences, often those involving change or loss, can lead to greater insights or understanding.

The tree’s conversion into useful items such as houses and meat racks exemplifies how nature provides for human needs. The Chief’s reference to his walking stick as a product of the tree underscores this dependency and the respectful, reciprocal relationship with the environment.

“Wapistan breathed deeply, and Morgan heard his breath shake like a rattle. Whatever the Chief’s age, she feared that his time was short.”

The simile in the phrase “Morgan heard his breath shake like a rattle” is an important element of this passage. The rattle, often used in Indigenous cultures for music and spiritual ceremonies, implies a connection to tradition and wisdom. This comparison, therefore, subtly links Wapistan, an elder character, to these revered cultural elements. Furthermore, the simile accentuates Wapistan’s frailty and vulnerability. The imagery of a shaky rattle parallels life’s fragility, especially in old age, reinforcing the theme of the transient nature of existence and the looming presence of mortality.

The phrase “she feared that his time was short” employs foreshadowing, creating anticipation or a sense of impending loss. This foreshadowing prepares for possible future events concerning Wapistan’s health or life, contributing to the development of tension and emotional investment in the character’s fate.

“‘That’s something you’ll have to ask Nicky,’ Mihko said. ‘It’s not my song. But it’s one that she hummed to herself all the time when she was a child. So much so that one day, her parents decided to name her Nikamon, “a song,” because of the song she loved so much.’”

An anecdote is utilized to convey deeper insights into a character’s past and the cultural significance of names. An anecdote is a short, often personal story that reveals something about a character or situation, and it’s used here to create a more intimate understanding of Nicky, also known as Nikamon.

The act of naming based on personal traits or habits reflects a broader cultural value placed on individual characteristics and stories. This small narrative piece helps build the novel’s world, showing how personal history and cultural practices intertwine to create multidimensional characters. It adds to Nicky’s character, painting her not just as a figure in the present but as someone with a personal history that is cherished and remembered by those close to her.

“Morgan no longer felt any fear. He may have looked huge and fierce, but this was the bear she’d spent months living with in the same village. The bear that she had eaten with. The one she had rested her head against while looking at the stars.”

Here, the bear’s “huge and fierce” appearance is juxtaposed against Morgan’s intimate and peaceful memories of living, eating, and stargazing with him. This stark contrast emphasizes the depth of Morgan’s understanding and connection with Muskwa, moving beyond mere physical appearances to a more profound, emotional recognition.

The narrative also employs imagery; descriptive phrases like “rested her head against while looking at the stars” evoke a sense of closeness and tranquility, contrasting with the initial description of the bear as “huge and fierce.”

“A history lost. Against her better judgment, Morgan approached the longhouse until she was close enough to see the drawings more clearly, before they succumbed to the flames. It was like hearing somebody’s dying breath.”

The simile “It was like hearing somebody’s dying breath” intensifies the emotional impact of the scene. By comparing the destruction of the drawings to a life’s final moments, the narrative conveys finality and irrevocable loss. This comparison imbues the scene with tragedy and highlights the gravity of cultural loss. It suggests that the destruction of these artifacts is not just a physical loss but also a metaphorical death of the community’s collective memory and identity.

“‘A house is a house, Morgan. It’s not a home.’ He pointed to his heart. ‘A home is in here, along with all the stories. That’s why they’re kept where they are, because they cannot be broken down, burned, or taken away.’”

The statement “A house is a house, Morgan. It’s not a home” uses a metaphor to distinguish between the physical structure of a house and the emotional and symbolic meaning of a home. The house is depicted as a mere physical entity, while a home is portrayed as something more profound and intangible.

The gesture of pointing to the heart while discussing the home further emphasizes this metaphor. The heart symbolizes the core of human emotions and identity. By indicating the heart, the narrative suggests that a true home is a repository of feelings, memories, and stories that define an individual’s or a community’s identity. Additionally, the quote highlights the theme of storytelling as a vital aspect of cultural and personal identity.

“Muskwa fell to his knees, grasping his chest. He swayed like a single blade of grass in the wind, and then the Great Bear dropped sideways. The ground rumbled one last time as Muskwa connected with the earth.”

Simile is used to compare Muskwa’s swaying to “a single blade of grass in the wind.” This simile conveys the juxtaposition of Muskwa’s immense size and strength with his sudden vulnerability and instability. It creates a vivid image of his weakened state, emphasizing the dramatic shift from his former power.

The personification of the ground is another key device here. Describing the ground as rumbling “one last time” as Muskwa falls imbues the Earth with a sense of reaction or emotion to Muskwa’s defeat. It suggests finality as if the Earth itself is acknowledging the end of a significant moment.