67 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of death by suicide, graphic violence, child abuse, death, physical abuse, and racism.
The narrator is a finalist for the Scariest Story Ever Award and needs a new story to win. The narrator visits Uncle Mike, the nephew of Irena Tobacco, whose stories the narrator uses to reach the finals. Mike’s son is facing jail time for dealing drugs, so Mike is now preparing to raise a grandchild alone. The narrator offers to pay Mike for Irena’s scariest story, and Mike agrees. He says that Irena often told “How the Cat Came to Be” to the local children. In this story, a flood drives all of the animals away from their homes to a small island. Cat is the nicest and beloved, but when the water recedes, the animals trade Cat to the Devil for safe passage back to their homes. However, the Devil tricks them and turns Cat into a distrustful animal.
Mike explains that the children believed Irena was withholding her scariest story. The children begged to hear this story, and Irena agreed on the condition that the children complete three tasks. The first was to clean their rooms and the second to clean up their yards. After the children completed both, Irena revealed the final task: to bring their parents to hear the first part of the story. Irena wanted the parents to decide whether their children should hear it.
Mike’s parents let him go alone. Irena, looking younger and healthier than usual, welcomed everyone in. On the couch were two small black garbage bags with baby blankets over them that seemed to move when the fan rotated. Seeing this, some of the parents took their children home. Addressing those who stayed, Irena began the story by singing a lullaby and shaking a jar: “We need toes for my jar and ribs for my soup” (209). At first, Mike believed that there were just stones in the jar, but he soon realized they were petrified toes. The bags began to move, and Irena cackled as everyone but Mike left.
Mike ends the story and tells the narrator to step down from the competition so that Mike can take his place. Mike accuses the narrator of recording stories from people all over town and then using them for profit. Mike tells the narrator that he is to write down all these stories and disperse them. Mike guarantees he will split the prize with the narrator when he wins the contest. The narrator then agrees to be Mike’s apprentice, happy to have guidance.
The narrator sits with her grandsons around a fire, waiting for the boys’ parents to return. The following day, the boys will fast in the woods, and she means to prepare them. The narrator was born with “the sight” and helps as many as she can in her family adjust to it. She instructs her grandsons, whom she calls No Filter and String Bean, to cook their steaks on the fire and leave some out beyond the circle where they are sitting. This will keep ghosts and other spirits away from them.
She explains to her grandsons that though the world changes, the agreements their ancestors made with the spiritual world do not. Colonization and residential schools have erased much of their ancestors’ tradition and history, jeopardizing the knowledge they need to be safe. The narrator tells the boys that the human eaters are tall, with baskets on their backs, and chop up and eat those who break their vows. She tells a story of how two boys broke their fasting and ran away. The human eaters caught them and kept one of the boys, warning his people that the human eaters were still there even if some could no longer see them. Just as the boys’ parents’ headlights flash at the narrator and her grandsons, she sees the legs of a human eater at the edge of their circle.
Johnny Junior lives with his father on the South Side of Chicago and helps run their family real estate office on 79th Street. One night, a ‘63 Ford Falcon filled with teenagers drives by, and the teens throw a brick that breaks the window and hits Junior in the face, shattering his orbital bone. Weeks late, as Junior closes up the office, the same car returns, but this time, a large figure covered in fur with mismatched eyes steps out with a bag full of the teenagers’ heads. The creature, Louis, offers them to Junior, but he refuses. Louis tells Junior that he secretly asked for them when he was attacked. Louis followed Junior’s people up to Chicago from the South and appears when people in the community need help.
Louis goes to the bathroom, and Junior hides the heads under the office’s doormat. As he does, the door flies open, and Junior recognizes the intruder as Rudy, a man who frequently (and poorly) robs local businesses. Junior warns Rudy that he will die unless he leaves. Rudy does not believe him, but when Louis walks back into the room, he takes Rudy’s gun and tells Rudy to lift the doormat. When Rudy sees the heads, he complains that they will frame him for murder and pleads with Louis, who shoots him.
Louis and Junior put Rudy in the driver’s seat of the car alongside the heads. Afterward, Junior asks Louis where he goes when he is not helping. Louis tells him that he is unsure of where he goes but that he truly cares about helping the people of the neighborhood. When Junior pushes for a better answer, Louis tells him that there is nothing in between and that only people’s beliefs allow him to exist.
Every summer, a Dakota girl named Amy takes a bus from Chicago to Bismarck, North Dakota, to visit her aunt Phyllis, a school nurse for United Tribes Technical College. Aunt Phyllis is kind and goes along with whatever Amy wants to do. This time, they go to see The Shining, which scares Aunt Phyllis. Though Amy enjoys it, the movie tests her nerves. That night, she wakes up feeling as though someone is watching her. She looks around but only sees Aunt Phyllis’s many owl decorations.
The next morning, Amy asks Aunt Phyllis about whether there are ghosts in the building. Amy knows that the campus was once “Fort Lincoln, an internment camp for ‘enemy aliens’ during World War II” (246). Instead of answering, Aunt Phyllis tells Amy about her first love, Hiro, who was one of the Japanese American citizens imprisoned there while she was a nursing student. They got along, and Hiro frequently made her origami cranes out of scraps of paper. Hiro, who was alone in the camp, eventually hanged himself, and Phyllis blames herself for being too shy to support him more.
A week into her stay, Amy wakes up freezing, and she feels she is being watched every night after. When Amy calls her mother to ask about ghosts, her mother reminds her of a visit with Aunt Phyllis when Amy was younger. Amy and her mother were driving near the dorms and passed a man walking with a blanket wrapped around him. Amy’s mother stopped to see if he needed a ride. After rolling down the window, however, she sped away in terror, telling Amy the man was a ghost who was floating across the ground.
One night, a young woman shakes Amy awake. Amy finds herself on the prairie and can tell the woman does not like her because Amy is Dakota. The woman drags Amy up a hill, where they see men leaving a fort. Amy recognizes General George Armstrong Custer among them and realizes the woman is Libby, Custer’s wife. Amy tries to run, but Libby pins her to the ground and chokes her. As Amy loses consciousness, she hears a screech and Libby disappears. Amy sees a young man beside her.
In the morning, all the owls in the room are smashed and Amy finds blood on the couch. Aunt Phyllis cleans her up and notices Amy holding something in her hand. She pries Amy’s fingers apart and finds a small origami crane. Aunt Phyllis cries as Amy reassures her that Hiro saved her.
Many of the anthology’s stories explore the importance of passing on cultural knowledge from one generation to another. In “Scariest. Story. Ever.,” Uncle Mike discusses the need to pass down knowledge and criticizes the protagonist for hoarding stories as well as for commodifying them—another iteration of The Intersection of Tradition and Modernity, as the story reveals modern capitalist society to be changing traditional Indigenous culture even as it seems to engage with or even preserve it. The deal that Uncle Mike offers the protagonist underscores this, as he offers to teach the protagonist what he knows in exchange for the protagonist transcribing all the stories he records around the community and returning them to the families, where they can fulfill their intended purpose as reservoirs of historical knowledge and ties between one generation and the next. The knowledge Uncle Mike offers has also been passed down through generations: “You’ll learn that a blue sky is dangerous and it’s the gray overcast days when you haul your water, cut your wood, secure your camp. You’ll learn how to read the land in the ways of our ancestors. I knew […] your grandparents. I remember what they knew” (213). Uncle Mike understands the importance of Resistance Through the Preservation of Cultural Identity and believes that the protagonist can help him in his efforts.
Residential schools are referenced throughout this collection in connection with the theme of Intergenerational Trauma as the Legacy of Colonization. Residential schools were boarding schools run with the goal of forcibly assimilating Indigenous children. In these schools, which were typically government-church collaborations, students often faced abuse, rape, and even death. In “The Human Eaters,” the protagonist references these schools as the catalyst for many Indigenous people losing their connections to their ancestors and cultures, which she explores through the lens of Indigenous people’s changed relationship with the human eaters: “The human eaters, they eat those of us who are not living as we should. That’s what boarding schools did to our people. Colonization took our memories. Assimilation has us feeding our own eyes and ears to the fire. Some even feed their own young to it” (223). The human eaters operate by the same rules as they did before colonization, but the loss of traditional culture has made contemporary Indigenous Americans vulnerable to these creatures, whom she therefore positions as enforcers of the old ways. In this, she argues that not only precolonial traditions but an entire precolonial spiritual reality still exists; however, many Indigenous people cannot connect to this history, putting them in danger. At the same time, the human eaters also represent the process of colonization itself, as evidenced by the cannibalistic imagery the protagonist associates with assimilation in the above passage.
The ghosts in Never Whistle at Night are another reminder of the past and how it haunts the present. In “Dead Owls,” Amy’s mother questions when the ghost she saw came from: “Now she says she hasn’t a clue what kind of ghost he was. A Mandan warrior, his entire village wiped out by smallpox? A camp internee, missing his relatives? ‘There are layers of loss in most places’” (250). Amy’s mother acknowledges that multiple tragic and violent events occurred in the same area, most (if not all) related to colonialism and white supremacy. In this passage, these ghosts represent moments in time lost to the forces of colonization, yet the story ends on a redemptive note, with one of these specters saving Amy from a much more pernicious haunting: the ghosts of Custer and his wife, who embody colonialism itself. Symbolically, the story speaks to the need for solidarity among those victimized by white supremacy (in this case, Indigenous and Japanese Americans) and suggests that the past can be a source of healing as well as trauma.



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