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Grace sneaks into the Trambert estate and hears a piano. She follows it, and when she’s close enough to spy inside the house, Grace is met with a vivid contrast to her home life. The Trambert home is lovely and tidy; the woman whom she assumes to be the mother of the family has lovely hair; and the person playing the piano is a girl of her own age. The sight of the latter is particularly devastating for Grace, as she sees herself lacking in opportunities and incapable of escaping her life in her “state slum” (81). She cries at the realization, and the guards notice the sound, so Grace runs away. She stumbles over the brick wall and hurts herself, but she doesn’t stop running until she’s back in Pine Block.
When she arrives home, her father is having another party. He asks after her injuries, but she brushes him off, unsure if he would defend her if someone hurt her or if he would just use it as an excuse to fight. She checks on her younger siblings, and then proceeds to go to sleep. Later in the night, she wakes, believing that she is still dreaming because a man is hovering above her, stroking her leg. She cannot tell who the man is for sure, but she wonders if it’s her father. He rapes her in her bedroom, and Grace is too terrified to do anything but silently call for her mother. When the man leaves, Grace goes to see Toot, her friend who was abandoned by his parents and lives in the dump of rusting cars, and asks him for glue. When he refuses to give her anything, she seeks a different comfort from him and tells him what just happened.
Three months later, Beth, Jake, and four of their children (Grace, Polly, Abe, and Hatua) are driving in a rented car to visit Boogie for the first time at the Boys Home. Beth is particularly happy and pleased with herself. She has not had alcohol for three months, and as a result, she saved enough money for their picnic and splurged on the food for it. The atmosphere is light in the car, though Grace is suspiciously quiet and never responds when Jake or Beth make a comment to the kids. They show off their rented car to their friends on the way, pass by Beth’s sister’s house, and spot a group of Brown Fist hopefuls at their headquarters. Among them is Nig. Jake slows the car, and Beth has to implore him not to engage, fearing that an altercation would derail their entire trip. Surprising Beth, he listens and drives on.
No sooner have they left the vacant land near Pine Block, however, Jake asks whether they should take a detour, which begins the day’s derailment. The children agree, and Jake assures Beth that it won’t take long and that they have plenty of time to meet with Boogie. Beth ascents and Jake drives them around the lakes, the good mood returning until Jake decides to visit Ainsbury Heights, a rich Pākeha neighborhood. Following Grace’s directions, they drive past large, wooded dwellings. The more they see, the more Beth can tell that Jake’s anger is rising. Where before he’d been proud of having a rented vehicle, seeing a house with three cars enrages him—though Beth doesn’t believe ownership of the car is the true cause of his anger. They keep driving, and although Jake shrugs off his attitude, the rest of his family is not convinced. The tension has everyone falling back on their trained behavior to mitigate his outbursts. They reach the area where Beth grew up, Wainui pa, a village that still observes Māori ways and traditions. Going down memory lane prompts Jake to reveal that his family did not have the same standing as Beth’s; in fact, he had an enslaved person as an ancestor who had been taken as a prisoner in tribe warfare. People ostracized and bullied Jake for having this ancestor, and Beth imagines that this is the “hurt” that fuels Jake’s rage. As Jake keeps driving, he does not bring them to Boogie but to McClutchy’s, where Jake promises that he’ll only drink one beer. After 30 minutes, Beth goes inside to find Jake two beers deep with his eyes glued to a horse race. After reminding him of the time, she goes back to the car and tries to talk to Grace, who ultimately pushes her and her concerns about her quietness away.
The narrative flashes forward a few hours later. Beth is in the bar with Jake and is drunk. She thinks about how well she’d done to organize the visit to see Boogie, only to spend the remainder of the day at the bar. It is now 4:50pm. She panics but eventually brushes it aside. Instead, she wants to boast about how well she’s done saving money and brings in the expensive picnic for which she saved. She gives money to her kids to find food, and Grace makes fun of her slurred pronunciation. When Beth comes back into the bar with the picnic, the people at the bar and Jake do not care for her efforts—they simply eat all the food within minutes, leaving Beth to cry in Mavis’s arms. Meanwhile, Boogie is still waiting for his family to visit, holding out hope that they’ll make it, even though it’s well beyond visiting hours.
The narrative moves to Grace’s perspective, hours after leaving her mother and father back at McClutchy’s. She is hanging out with Toot as he explains how to do glue. She asks Toot multiple times to let her try it, but he staunchly refuses. When she insists, he proposes a joint instead. Now high, Grace confides in Toot that the man has raped her again (possibly multiple times since that first time) and that, despite her despair, she can’t tell her mother about it. As for her father, she intimates that she believes that he’s her rapist. She calls him “the worst old man in the fuckin world, [and if] I had a gun I’d shoot him stone fucking dead” (109). She leaves Toot and heads for the Trambert estate, carrying rope with her. She watches the Trambert family have a nice, five-course dinner where they laugh with visiting friends and the daughter can speak with her parents as an equal. From her perch on a tree, she compares this scene with Pine Block, which she can glean through the tree leaves, and her misery grows. She ties the rope, testing its strength, then places it around her neck as she thinks about unrealized potentials. She jumps off the tree to her death.
These chapters showcase The Impact of Internalized Intergenerational Trauma through Grace and Jake. In the former’s case, Grace’s natural curiosity brings her into contact with the Tramberts, where she can observe their family home life rather than the external façade of their estate. There, she witnesses a loving family, one where a child is treated as an equal in conversation. Food is abundant, and rather than beer, the Tramberts drink wine. There is a lightness inside the house that heavily contrasts with the heavy burden of her home: “[I]n between them she observed the kitchen of her own house. The contrast. It didn’t seem possible. From grand piano to this. Even God wouldn’t believe it” (82). The Tramberts’ daughter has clearly had piano lessons and enjoys a life of ease that is unfamiliar to Grace. Lured in by the sound of her playing, Duff employs language reminiscent of Grace’s mother’s in Chapter 1 to define Grace’s sensation of listening to the piano playing: “[I]t was like entering – trespassing – a totally different world. Neighbours, huh? Just over the fence, eh. Yeah, another planet” (78). By using similar language to Grace’s mother, Duff heightens the sense that this is an intergenerational feeling. He extends this when her encounter awakens a sentiment that has long plagued earlier generations: that Māori do not have “the right – the right, it said – to realise their potential” (112). By watching the Tramberts, Grace understands that white New Zealand society has placed limitations on what she can be.
Duff intimates that, while white society has oppressed generations of Māori, Grace’s home life reflects the intergenerational trauma of their community. In a moment of foreshadowing in Chapter 2, Grace thinks to herself of all the things that older generations impart to their children: “On and on and on into this lovely night, this lovely night and lovely children corrupted, ruined, raped, and all you can say is shake? Put it here, brother? And next week, next month, next year for all the years of your terrible existence you lot’ll be doing the same” (20). Parents, in her perspective, only provide trauma to their children, and they continue the cycle “on and on […] for all the years” (20) for the next generation. When Grace is raped, she believes that her father is her rapist, and the fact that he cannot deny it because of his drunkenness only further confirms her belief. Duff ends Chapter 9 by describing Grace’s “tormented mind” (111) before she dies by suicide. She has trauma from both her father and her community, emphasizing the sense that her trauma is intergenerational.
Jake is likewise a product of intergenerational trauma. Part of the “hurt” that motivates his violence comes from the treatment he received as a child because of his ancestor who was captured and enslaved. In Māori culture, “to be a warrior and get captured in battle was the pits” (96). As a descendant of an enslaved person, Jake was mercilessly bullied and ostracized in his own community: “When I was a kid – me and my brothers and sisters – we weren’t allowed to play with many other families in our pa. No way, not the Hekes, man. Don’t play with them, you’ll get the slave disease” (96). His repetition of the words “not the Hekes” reflects the way Jake has internalized these sentiments, years later. The bullying and alienation aren’t anything new. The “slave disease” (96) has, according to him, lasted for 500 years, and any contact with the chief’s family was strictly denied. From generation to generation, class hierarchy in his pā (village) guaranteed a cycle of diminishment and violence against his family. Jake and his family were thus pushed to the outskirts of town in an “ole shack,” but as he explains, the experience wasn’t a happy or loving one: “Cept it ain’t natural, is it? What isn’t, Dad? For people to live together in one little ole house, not sort of, you know, loving each other” (97). Again, Jake repeats the language from his childhood that he has internalized. The effects of such a living arrangement compounded the alcohol addictions in his family, who lived “only to drink. Working in the forest only to buy beer” (97). Duff momentarily makes Jake a sympathetic character since his childhood and his intergenerational trauma is the source is his current “hurt”—the relentless urge that Jake has to fight anyone who would bring up the smallest reproach. It also outlines a long history of association between intergenerational trauma and alcohol addiction—a history that Jake continues.



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