48 pages • 1 hour read
Thomas KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section refers to domestic abuse, child abuse, animal death, suicide, and colonial trauma.
Tecumseh is a dynamic, if often passive, protagonist and narrator. At 15 years old, Tecumseh has spent his entire life moving between Truth and Bright Water. He is a keen observer of the land and its history; though much of the information the novel presents about Truth and Bright Water comes from the adults in Tecumseh’s life, it is still relayed through Tecumseh’s narration, implying that he has heard and internalized this information throughout his life. Tecumseh’s name, a reference to the revered Shawnee chief, symbolizes this innate connection to history even as The Search for an “Authentic” Indigenous Identity so often proves illusory: Through Tecumseh’s imagination and adaptability, that identity will live on.
Tecumseh’s desire to understand parts of his own life and his parents’ lives that he finds unknowable drives much of the narrative. Many of Tecumseh’s interactions with the adults in the story are characterized by Tecumseh’s propensity for asking questions. He’s curious, and even when he doesn’t receive satisfactory answers, the first-person narration shows him piecing his observations together to form conclusions. Tecumseh’s (possibly erroneous) assumption that Cassie is pregnant is an example of such deduction. The first-person narration also gives a window into Tecumseh’s thought processes, as seen in Chapter 9. Tecumseh is a methodical, rational thinker who tries to understand the actions of adults through the lens of previous decisions he has seen adults make. His theories about the jumping woman, for example, draw on the emotions felt and actions taken by the adult women in his life.
One of the core decisions Tecumseh must make involves what type of man he wants to be and how he wants to deal with the frustrations of growing up in Bright Water. He’s offered several different models for what his masculinity might look like and for what he might do with his life. Though the ending of the novel doesn’t offer any definite answers to these questions, Tecumseh does come to embrace his artistic impulses in the form of the piano that Monroe gifts him. Art is one of the primary ways through which the people in Tecumseh’s life have dealt with their frustrations in healthy ways: He has seen Monroe use his art to benefit the community and his mother use her acting to find self-fulfillment and defy restrictive gender roles. Tecumseh’s turn toward art at the end of the novel suggests that he too has found a productive outlet through which he might understand the pain of a childhood defined by loss
Lum is a dynamic, tragic character whose arc at times serves as a foil for Tecumseh’s. Both Elvin and Franklin abuse their sons, but the physical abuse that Lum endures is far more drastic than Tecumseh’s and plays a much larger role in shaping his character. Franklin’s physical abuse affects Lum in a number of ways. Lum spends much less time at home than Tecumseh does and focuses his energy on pursuits that take him outside of the house, like running. Lum is also a much angrier character than Tecumseh, and he often externalizes his anger in the form of violence, Navigating Toxic Masculinity less successfully than Tecumseh. This anger surfaces both in Lum’s past (as seen in the flashback when Soldier needs to defend Tecumseh from Lum’s aggression) and in his present (as evidenced by the gun he often carries and mock-shoots himself with in Chapter 31).
Like Tecumseh, Lum yearns to connect with a past he doesn’t understand. In Lum’s case, this past comes in the form of a deceased mother he never knew well. At times, Lum seems to believe that the jumping woman might be his mother and that it’s possible his mother is still alive. Lum sometimes attempts to connect with history in strange, surprising ways. Several times throughout the novel, Tecumseh finds him stripped naked, painting himself with mud and other substances in a way that evokes old traditions. However, Lum is less connected than Tecumseh is with the day-to-day life of Bright Water, and as such he seems to be less connected to the physical truths and realities of the place.
Lum is thus never offered a pathway for making sense of his histories or for coping with the abuse he endures. His arc over the course of the novel is a tragic one, as his self-destructive impulses build toward the final, reckless run over the bridge that results in his death. Lum dies running—his favorite activity and the activity that his father’s abuse kept him from being able to enjoy. His suicide (or at least willing self-endangerment) in the final chapters is an act of rebellion, but it’s also an act that suggests Lum could see no place for himself in a society that alienated him from his past and tolerated his abuse.
Like many fictional canines, Soldier is the protagonist’s loyal sidekick who ultimately has a tragic arc. The boxer was a gift from Elvin and was initially unwanted by Tecumseh’s mother. Soldier earned his name after defending Tecumseh from Lum during one of Lum’s more aggressive spells.
Soldier’s actions drive much of the novel’s plot. He is a naturally curious and intuitive dog who often helps Tecumseh meet people (as in Chapter 18, when the dog leads him to Rebecca) or resolve crises (as in Chapter 30, when the dog locates the church). Soldier also acts as a sounding board for Tecumseh, allowing him to voice thoughts he wouldn’t voice to other characters and talk through problems that arise. Soldier’s assumed death at the end of the novel happens because the dog senses that Lum is in danger; this is in keeping with his nature as a loyal, protective character. The dog’s death also symbolically demarcates an end to Tecumseh’s childhood and the loss of that comforting presence that allowed Tecumseh to externally process his thoughts and feelings.
Monroe Swimmer is one of the novel’s more enigmatic characters. He acts as a mentor to Tecumseh and a foil for the other adult men in Tecumseh’s life, namely Elvin and Franklin. As a famous artist who grew up in Bright Water but later left for Toronto, Monroe’s past is closely intertwined with Tecumseh’s parents’, but in ways Tecumseh can’t fully make sense of; King hints that Monroe may be Tecumseh’s biological father.
Monroe offers Tecumseh employment as an assistant to his art projects. Tecumseh accepts even though he perceives Monroe to be an almost delusional eccentric, and despite Monroe’s oddities, Tecumseh does grow close to him and does learn more about the reason he returned to Bright Water. Monroe has spent much of his life working in museums “restoring” old paintings and, in doing so, uncovering hidden pictures of Indigenous people in the artwork. This work of restoration is emblematic of how Monroe aims to use his art to change Bright Water. Monroe sees the opportunity to use art to literally and metaphorically “erase” symbols of Bright Water’s colonial past, repurposing the material wealth within these structures for the community’s gain. Monroe also models a type of masculinity for Tecumseh that isn’t rooted in anger or regret but instead uses past traumas to transform the lives of those around him.
This being said, Monroe still has a complicated relationship to his Indigenous identity. One of Monroe’s defining physical features is the wig he wears, which reminds Tecumseh “of Graham Greene’s hair in Dances with Wolves” (45); without the wig, Tecumseh says, Monroe looks “ordinary.” The fact that Monroe chooses to wear a wig that makes him look like a character from one of the most popular representations of an Indigenous man in the white American consciousness suggests that Monroe is aware of how he is perceived by the public and wants to play into, or sometimes play against, this perception. Monroe is comfortable with assuming/affecting different facets of his Indigenous identity to achieve particular ends. This shrewdness culminates in the revelation that Monroe has been stealing the bones of Indigenous children from the museums he worked in to complete his project of reclamation.
By Thomas King