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70 pages 2 hours read

Witi Ihimaera

The Whale Rider

Fiction | Novel | YA | Published in 1987

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Chapters 1-4Chapter Summaries & Analyses

Part 1: “Prologue: The Coming of Kahutia Te Rangi” - Part 2: “Spring: The Force of Destiny”

Chapter 1 Summary

The land and sea are filled with suspense as they wait for the coming of man. Before man, “in the years that have gone before us, the land and sea felt a great emptiness, a yearning” (8). The land and sea were not without life or vivacity, but they were waiting—”Waiting for the seeding. Waiting for the gifting. Waiting for the blessing to come” (8). Suddenly, the first of the Ancients arrives on canoes from the east. The land and the sea have been found, and they know their blessing is soon to come.

Ihimaera describes a whale with a “swirling moko pattern imprinted on the forehead” (9) and a whale rider perched upon his back. The whale rider seemed “with all his strength, to be pulling the whale into the sky” (9). The two journeyed toward land, where the man threw spears along the shore. The spears gave life to the land, some turning into pigeons and others into eels. There remained one spear that refused to leave his palm. The man prayed that this spear would remain planted in his hand for years to come until humanity needed it once more. The spear leaped from his hands and flew around the sky for 1,000 years. It then struck the Earth and remained there for another 150 years. Ihimaera ends the prologue with the line, “Let it be done” (9).

Chapter 2 Summary

An ancient bull whale is leading his herd in a great migration. They travel past The Valdes Peninsula, Patagonia. The ancient whale and the elderly female whales sing their whale songs and guide the herd. As they swim, “the ancient bull whale was swept up in memories of his own birthing” (11). He laments over the day he first met his human master while crying over his mother’s death in Hawaiki: “The human had heard the young whale’s distress and had come into the sea, playing a flute” (11). In his attempt to “communicate his oneness with the young whale’s mourning” (11), the man played sad songs. The young bull whale stayed with the human while his herd moved on. The whale would come to him every time the man played his flute. In the present time, whenever the ancient bull whale hears a flute, he attempts to jump out of the water like when he was young. For the elderly females, however, the song of the flute—the “rhapsody of adolescence” (11)—signifies their leader’s desire to take the herd to the dangerous islands in the south-west.

Chapter 3 Summary

Our narrator, Rawiri, speaks of Kahu, the one that was “there at the end” and whose “intervention perhaps saved us all” (12). Everyone in the tribe knows such a child would be born one day, yet no one pays any attention when Kahu is born. Rawiri’s parents, Koro Apirana, the tribe’s leader, and Nanny Flowers, receive news that Porourangi, Rawiri’s brother, and his wife, Rehua, have given birth to a baby girl. Koro Apirana is angered and devastated by this news, as a new baby girl breaks the male line of descent. Contrastingly, Nanny Flowers does not care whether the child is a boy or a girl; she is just relieved to hear from her son. She catches a glimpse of Koro Apirana pulling his dinghy into the water, which he does when he needs to clear his head. He pretends not to hear his wife when she calls, causing Nanny Flowers to chase after him. More intelligent and resourceful, Nanny Flowers grabs the motorboat and easily catches Koro Apirana. They insult one another all afternoon, much to Rawiri and the boys’ amusement. Eventually, Koro Apirana surrenders.

Rawiri tells the reader that this fateful day happened eight years ago. In hindsight, Rawiri understands that Koro Apirana cannot resolve Kahu’s birth with his traditional beliefs about male Maori leadership: “By Maori custom, leadership was hereditary and normally the mantle of mana fell from the eldest son to the eldest son. Except in this case, there was an eldest daughter” (13). Koro Apirana stays hopeful that Porourangi will have a boy soon. In the meantime, he completely ignores any conversation about Kahu. Nanny Flowers becomes angry with her husband’s behavior and bad-mouths him to Rawiri while kneading dough. As she becomes more and more distraught, the dough begins to cry for help. She relays that she should have listened to her mother and married Waari over the hill. Koro Apirana overhears, and the two get into another fight. Rawiri recalls, “No sooner was I out the door when the battle began. You coward, said the dough as I ducked” (13-14).

Chapter 4 Summary

Fighting over a divorce is nothing compared to Koro Apirana and Nanny Flowers’s fight when Porourangi says he’d like to name his daughter Kahu. Koro Apirana is infuriated that his wife permits Porourangi to name his child after their tribe’s founder. He believes that naming a girl after the tribe’s founder belittles Kahutia Te Rangi. Rawiri writes that Nanny Flowers was always stepping out of line: “Even though she had married into our tribe she always made constant reference to her ancestor, Muriwai” (15). Muriwai traveled to New Zealand on the Mataatua canoe. When her chieftain brothers inspected the land, Muriwai realized that the sea was growing and would surely swallow all of the men. She prayed, asking permission from the gods “to give her the right and open the way for her to take charge” (15). She yelled, “Now I shall make myself a man!” (15). She calmed the sea and saved her entire village. Koro Apirana tells Nanny Flowers that her ancestor’s story does not give her the right to name a girl after his ancestor.

However, it is not Nanny Flowers who wants to name the child Kahu, but Rehua, Kahu’s mother and Porourangi’s wife. There were complications during the delivery, resulting in a c-section. Rehua was left weak and frightened. She declares that should she die, her firstborn will be connected to her father’s people and land. Subsequently, Rehua requests that the birth cord be buried on the Marae in Nanny’s village. On Friday, Nanny Flowers and Rawiri ride into town to meet his aunt and collect the birth cord. Nanny Flowers places the birth cord in sight of Kahutia Te Rangi so that he may watch over Kahu and so that the sea from which he came will always protect her. She tells Rawiri that knowing the location of her birth cord makes him Kahu’s guardian. Rawiri sees a light flash through the air as if a small spear had flown over them.

Chapters 1-4 Analysis

The Prologue represents its own unique story of the genesis of the Maori tribe and the land on which they live. Ihimaera recounts the coming of man, which was much anticipated by the sea and the land. While humanity today has forgotten the importance of cultivating its relationship with nature, it was once a welcomed endeavor. Upon discovery, the land and the sea think, “We have been found. The news is being taken back to the place of the Ancients. Our blessing will come soon” (8). Through the imagery of the whale rider and the whale, the innate oneness between man and animal is expressed. Further, the potential for such a relationship with nature is alluded to in nature’s own desire to be man’s companion. The two exist in a reciprocal relationship wherein each supports the other. Ihimaera ends this section with the motif “Let it be done,” showcasing that Fate is both unavoidable and intertwined in the lives of the Maori people.

Ihimaera depicts the migration of the whales. The lead whale, or rather, the ancient bull whale with the swirling moko on its forehead, becomes depressed as he follows the path he and his master used to travel together. With each location comes a new set of memories, specifically the awesome and eternal sound of the flute. Yet, how the ancient whale views reality is constantly at odds with how the other whales perceive their travels. For the elderly females, the sound of a flute represents the “rhapsody of adolescence” and their leader’s alarming desire to lead the herd to the dangerous islands of the south-west. The different views of the male and female whales mirror the different attitudes of Koro Apirana and Nanny Flowers. Like the ancient whale, Koro is depressed and angry, caught up in a past notion of Maori leadership. However, Nanny Flowers, like the elderly female whales, does not dwell solely on past customs but instead embraces the birth of her granddaughter and her future potential.

Our main narrator, Rawiri, relays the story of Kahu’s birth. Themes of equality and inclusion of women are brought to the forefront, as Koro Apirana is angered that his male lineage is now broken by the birth of an eldest granddaughter. Rawiri, in hindsight, asserts, “The problem was that Koro Apirana could not reconcile his traditional beliefs about Maori leadership and rights with Kahu’s birth” (13). Nanny Flowers innately understands this flaw in her husband, explaining the many times throughout the novel that she questions his exclusion of women. Nanny Flowers tells Rawiri, “He (Koro Apirana) isn’t any chief. I’m his chief” (13). This defiance of masculine authority pairs well with her ancestry, which dates back to Muriwai. Muriwai is routinely referenced as having acted like a man, taking on manly attributes while exposing the flaw in masculine rule. Muriwai proclaims, “Now I shall make myself a man!” (15). Therefore, Nanny Flowers’s acceptance of a boy’s name for her daughter aligns with her ancestor’s tendency to exist outside of gender confines. Likewise, this juxtaposition between Nanny Flowers and Koro Apirana reminds us that Kahu has not just her Maori ancestry but also Muriwai.

Rawiri becomes Kahu’s guardian when he helps Nanny Flowers bury her birth cord under the statue of Kahutia Te Rangi. Again, the motif “Let it be done” is repeated in this scene:

I looked back at the spot where Kahu’s birth cord had been placed. At that moment the moon came out and shone full upon the carved figure of Kahutia Te Rangi on his whale. I saw something flying through the air. It looked like a small spear. Then, far out to sea, I heard a whale sounding. Hui e, haumi e, taiki e. Let it be done (17).

The burial of the birth cord by her ancestor’s statue symbolizes both the importance of lineage and the solidification of Fate itself. Only after Kahu’s birth cord is placed in the correct location does the spear thrown thousands of years ago appear for the first time.

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