63 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of sexual harassment, gender discrimination, bullying, animal death, substance use, cursing, illness, mental illness, death, and emotional abuse.
The three travel for several hours over rough desert terrain, with Father Aguirre murmuring to himself while Grandma Billy urges him to drive faster. They are forced to leave the road and enter a wash, which makes Father Aguirre uneasy due to the risk of flash flooding. They turn on the radio, and after some time, Father Aguirre notes that they will soon need to stop driving. Grandma Billy insists that they eat first. As they prepare to stop, Galadriel calls into the radio station, warning that the unusual energy to the northeast of Quartz Creek is intensifying and advising anyone involved to either stop or commit fully, as it is becoming disruptive.
Grandma Billy prepares eggs and bacon, and they eat. Father Aguirre lays out sleeping bags so that they can rest after dealing with Snake-Eater. When Selena asks what their plan is, Father Aguirre explains that they intend to locate Snake-Eater’s home ground and then seek assistance from other spirits to restrain him. Selena asks about Grandma Billy’s earlier comment that Father Aguirre’s mother was a spirit. Father Aguirre confirms this and demonstrates by briefly transforming into a javelina behind the truck before returning to human form. Grandma Billy walks away to relieve herself, and Selena asks additional questions about spirits.
When Copper begins barking, Selena and Father Aguirre realize that Grandma Billy has been gone for too long. Father Aguirre undresses again and transforms into a javelina, searching for her while Selena follows with his clothes. After several minutes, he resumes his human form and reports that Grandma Billy has vanished. He believes that Snake-Eater has taken her into the spirit realm and assumes that she is still alive, stating that Snake-Eater “won’t kill her until he’s sure [Selena is] watching” (211).
Father Aguirre drives closer to Jackrabbit Hole, disregarding the damage to his truck. He warns Selena that they may need to enter the spirit world and instructs her not to become separated from him. If she does, he advises her to remain polite and to ask the cost if offered help. They stop near Jackrabbit Hole and proceed on foot. Holding Copper’s leash and Grandma Billy’s shotgun, Selena follows Father Aguirre as they descend into Jackrabbit Hole. As they near the bottom, they hear Snake-Eater threatening them. Selena stumbles, Copper lunges, Father Aguirre shouts in Spanish, and Selena is pulled into the spirit realm.
Selena finds herself walking through the spirit realm, moving almost automatically—“Walking was what she did, what she had always done” (216)—with only a vague sense that she is meant to be doing something. She passes several saguaros and pauses at a third, where something peers out at her. When her wrist begins to burn, she remembers Copper’s leash pulling on her arm, and her full awareness returns.
Realizing that she is in the spirit realm, Selena panics, fearing that she may have wandered for years and that everyone else could already be dead. She calls aloud for help, and an elf owl emerges from a saguaro before flying away. Selena follows it and soon finds Copper, who is accompanied by a Yellow Dog spirit. When Selena greets the dog, the Yellow Dog speaks to her, startling her. He reassures her that Copper warned him that she might be jumpy. Selena asks him to tell Copper that she loves her and that Copper is the best dog, but the Yellow Dog replies that Copper already knows and that “best” is too abstract a concept for dogs. When Selena asks what his help will cost, he tells her that his services are free and suggests that she thank the elf owl by practicing gratitude.
The Yellow Dog leads Selena and Copper to a gathering of spirits assembled around a fire. A hawk spirit asks Selena what she wants, and she explains that Snake-Eater has been harassing her and sent her into the spirit realm. One spirit dismisses Snake-Eater as harmless, but Old Man Rattlesnake objects. Selena asks for their help, apologizing repeatedly until one spirit comments on her excessive apologizing, prompting laughter when she begins to apologize again. Selena suggests that Father Aguirre could explain the situation more clearly, and the ocotillo spirit notes that Father Aguirre is currently with his mother.
The spirits summon Snake-Eater, and Selena hears a familiar voice among them. Jackrabbit sings to call him, and Snake-Eater soon appears. Compared to many of the other spirits, who seem elderly, Snake-Eater appears young and physically powerful. Selena and Snake-Eater argue. The spirits laugh when Selena asks, “What did my aunt see in you?” (223), embarrassing him. Snake-Eater presents his grievance, claiming that Selena accepted his courtship gifts and later revealed that she was already involved with someone else. Selena counters that she did not understand the meaning of the gifts and accuses Snake-Eater of killing Amelia by draining her strength, a charge he deflects by blaming Amelia for giving it freely.
When the spirits seem inclined to side with Snake-Eater’s sense of betrayal, the familiar voice intervenes, arguing that Selena did not know what she was agreeing to. Selena realizes that the speaker is DJ Raven, who jokes about Snake-Eater persisting in pursuing someone who is not interested. Snake-Eater challenges the spirits to decide whether they will defend a human. Yellow Dog immediately agrees to help, followed by Old Man Rattlesnake and DJ Raven, giving Snake-Eater pause. When this still proves insufficient, the scorpion spirit steps forward. Scorpion explains that he will defend Selena because she treated scorpions with kindness, relocating them outside rather than killing them, as most humans would.
The spirits’ forms shift as a fight breaks out, and Copper charges into the conflict. Selena tries to stop her, but a woman—Father Aguirre’s mother, the javelina spirit—stops Selena, telling her that Selena would do the same if their roles were reversed. The confrontation ends with Snake-Eater fleeing, pursued briefly by Copper and the Yellow Dog. DJ Raven explains that they have won and that Snake-Eater will be unable to leave his home ground for a long time. Before the spirits disperse, Selena thanks Scorpion, who reflects that small acts of kindness can feel large to small creatures. Javelina then tells Selena that she must leave and pushes her and Copper back into the human world.
Selena regains consciousness at the bottom of Jackrabbit Hole, where Snake-Eater and an injured Grandma Billy are also present. Snake-Eater threatens them, but his form is unstable and visibly weakened. Copper bites him before being kicked away. Selena cries out to draw Snake-Eater’s attention away from Copper. Father Aguirre, in javelina form, charges Snake-Eater. Realizing that she is still holding Grandma Billy’s shotgun, Selena warns Father Aguirre and then shoots Snake-Eater.
Grandma Billy boasts that her idea about shooting Snake-Eater was right all along as Father Aguirre dresses himself the best he can with his remaining clothes. He warns that Snake-Eater is not dead and will begin rebuilding his power when the sun rises. They climb out of Jackrabbit Hole, Father Aguirre helping a stoic Grandma Billy and Copper limping. Eventually, they reach the truck, and when Father Aguirre starts it up, they hear DJ Raven announcing a song especially for them—“We are the Champions.” Selena sleeps the entire drive back to town.
Upon arrival at Quartz Creek, they go straight to Rosa’s, where Grandma Billy announces that they fought a roadrunner spirit. Copper’s leg is injured but not broken, Father Aguirre has two broken ribs, and Grandma Billy must stay overnight for observation. Rosa says that she will call in a doctor to see to Grandma Billy’s wounds; she thinks Grandma Billy is okay but does not want to risk it. Rosa is frustrated at them for risking Grandma Billy’s safety, but Father Aguirre argues that they did not mean to put her in danger.
Selena visits the dreamlike space where she had sexual encounters with Snake-Eater, but this time she finds that she is in bed with Yellow Dog, who says that Snake-Eater will be weakened for at least a century. Yellow Dog explains that the space is Selena’s, not Snake-Eater’s. She thanks him again for his help, talking about how she felt helpless. Yellow Dog tells her not to degrade herself, pointing out how making friends “is doing something” (239), as is the consistent kindness Selena has shown those around her. Yellow Dog advises her to rename her house, and they discuss how Amelia changed it so that Snake-Eater could come to the house. He argues that Snake-Eater wasn’t “so bad” before Amelia died; the spirits don’t always understand human death, and Snake-Eater felt abandoned. Selena wants to ask more questions, but Yellow Dog leaves with a final reminder to change the name of the house.
Three days later, Selena holds a ceremony to change the name of her house. She invites several people, including Grandma Billy, who is using a cane. She announces the new name—Copper Dog House—and the others solidify the name by calling back “Witnessed!” Jenny says that she will update the records. After everyone else leaves, Selena talks to Father Aguirre, telling him about her encounter with Yellow Dog. He confirms that Amelia was happy with Snake-Eater and that she probably didn’t realize that Snake-Eater was draining her energy, as she was lonely. Selena counters that her aunt “should have gotten a dog” (242).
With the arrival of the fall tourist season, Selena remains busy. She helps the Rivendell commune prepare accommodations for visitors and assists Lupe at the restaurant. Father Aguirre continues delivering his usual sermons but spends much of his time repairing his damaged truck. Grandma Billy enjoys the influx of tourists, openly flirting with visitors and eventually taking one of them, Darren, home. Selena earns a significant amount of money during the season but feels relieved when the tourists finally depart.
One afternoon, while Selena is sitting on her porch, Connor’s son arrives to tell her that there is a man in town insisting that Selena must leave. Fearing that the long-delayed residency interview Jenny mentioned has arrived, Selena retrieves Copper and walks into town. However, as she approaches the church, Selena recognizes Walter’s voice. She also hears Father Aguirre defending her. Entering the building, Selena finds that Jenny is there as well. Selena reminds Walter that she left him deliberately. Walter claims that he understands and explains that a letter was sent to his address after Selena completed her residency paperwork. Nevertheless, he insists that she must return home, arguing that she has a mental illness and is imposing on the people of Quartz Creek.
Disturbed by the suggestion that she is a burden, Selena initially does not respond. At this point, however, Grandma Billy enters and challenges Walter, asserting that Selena is not a burden. Walter attempts to charm Grandma Billy and then looks to Father Aguirre for support, but Father Aguirre responds only by smiling at Grandma Billy. Lupe enters to observe the confrontation. Walter continues to insist that Selena has “episodes,” but Selena interrupts him and firmly states that she is finished with him. When Walter grabs Selena’s wrist, Jenny’s demeanor shifts. She orders him to leave. Walter says that he will find a hotel, but Jenny informs him that there are none nearby and tells him not to return. When he challenges her authority, Jenny states that she is both the mayor and the chief of police. Grandma Billy jokingly offers to remove him herself, noting that Jenny might be charged with police brutality otherwise. Father Aguirre reminds them that they are in a church, and Jenny escorts Walter out. Walter leaves in his car and does not return.
After Walter’s departure, the group gathers in the rectory to talk. Grandma Billy admits that she was listening to the confrontation and intentionally waited for the right moment to make her entrance. Father Aguirre pours wine, and Selena apologizes for imposing on the people of Quartz Creek. The others firmly reject this characterization, assuring her that she has not been a burden.
During the conversation, it becomes clear that Grandma Billy has been giving Selena her excess eggs. Lupe scolds Grandma Billy for this, though Selena expresses her gratitude for the food. She also notes, with amusement, that Grandma Billy has already begun giving her large quantities of summer squash as well.
As they continue talking and laughing, a teenage boy knocks at the door, having heard about the community meal. He offers to wash dishes in exchange for food, but the group declines the offer and instead begins preparing for the meal together. Selena reassures the boy that they will help him find work and welcomes him to Quartz Creek, and Copper leans companionably against the boy’s legs.
The final section of Snake-Eater completes Selena’s arc. Rather than offering a conventional resolution in which the antagonist is defeated and danger eliminated for good, the novel emphasizes adaptation. This echoes its thematic interests, particularly The Distortions of Emotional Abuse; though Selena can overcome some of the patterns she learned in her relationships with Walter and her mother, she remains shaped by the experience.
The nature of the resolution also speaks to the text’s ideas about place and community. In showing Selena learning to live alongside Quartz Creek’s residents—including its supernatural ones—the text insists that belonging is learned rather than simply found. Her deepening understanding of desert ecology mirrors this idea. As Selena travels deeper into Snake-Eater’s home ground, she learns how to navigate the desert’s dangers. Grandma Billy’s warning about flash floods—“It rains way over there and the rain comes down and this turns into a river” (201)—underscores that threat does not always manifest as immediate, obvious violence. Survival in this environment thus depends on knowledge accumulated over time.
The symbolism of the saguaro cactus, which appears prominently during Selena’s passage through the spirit realm, reinforces this point about The Power of the Natural World. The narration lingers on their variety and progression: “Then there was another one, a young one without any arms […] Then came a particularly tall one, arms upraised, riddled with holes” (216). These saguaros function as markers that guide Selena’s movement, a point underscored when something peers out from one of the holes, and a creosote bush taps her wrist “like a friend trying to get her attention” (216). The moment literalizes the idea that the natural world operates according to relational rules; in this case, it responds to and rewards Selena’s attentiveness.
The spirit realm continues the novel’s pattern of subverting expectations, especially where power is concerned. Selena observes, with some surprise, that “She’d expected the desert gods to be solemn and terrible, not bickering like old people at church bingo night” (221). The mundaneness of the simile exemplifies the book’s rejection of grandeur, which it suggests is often intertwined with dominance. The gods resemble elders more than deities, reinforcing the novel’s insistence that authority is communal rather than hierarchical. Equally telling is the fact that Snake-Eater is the exception to the rule. Described as “Tall and strong-featured, like a hero off the cover of one of Grandma Billy’s romance novels” (222), he becomes an almost satirical figure. His visible difference from his fellow spirits signals that he embodies a different form of power—specifically, the individualistic, patriarchal one that his conventionally masculine appearance suggests.
Selena’s confrontation with Snake-Eater about Amelia’s decline provides her with the opportunity to rebut this conception of power. Snake-Eater attempts to reframe the situation as if Amelia’s depletion were self-inflicted or irrational, asking, “Why would she give so much away, if she did not have enough to spare?” (224). Besides conveniently shifting attention away from his own actions, the question echoes a patriarchal framing of relationships in which it is women’s role to give and men’s to take. Selena is familiar with this based on her own history of obligation, where giving felt less like a choice than like a role: “[H]er place was to give and give until there was nothing left of her at all” (224). Her response, “Because she loved you, you asshole!” (224), thus cuts through Snake-Eater’s rhetorical move.
At the same time, the novel acknowledges Snake-Eater’s pain and isolation. The community notes that “He wasn’t quite so bad […] until she died and left him alone” without excusing his violence (240). This nuanced moral stance implies an understanding that Snake-Eater, too, is trapped within unhealthy relationship dynamics. It also underscores that the novel’s supernatural drama is in some sense secondary to the events unfolding in the “real world.” Snake-Eater is responsible for the primary narrative conflict, but he is not the main villain: Walter is. Selena’s showdown with Snake-Eater serves as a rehearsal for the more emotionally difficult confrontation with Walter, who remains a flat, static embodiment of abuse.
In both cases, the resolution of the conflict hinges on the accumulation of small, consistent acts of care. Selena struggles to accept that the god of scorpions might intervene “just because [she] kept taking those scorpions outside instead of squashing them” (228). Yet this is precisely the novel’s ethical argument: Kindness matters, even when it seems inconsequential, in part because it builds the bonds that allow one to survive. The challenge for Selena is to learn to accept others’ care, as a pointed question from Javelina suggests: “Would you ask strangers to fight for you, but deny your friends?” (229). Her response to Walter’s reappearance answers this question, as she allows Grandma Billy, Father Aguirre, and others to support her even as she exerts her own agency. This brings closure to the novel’s theme of Community as Protection, showing how strong relationships can facilitate self-assertion.
The Epilogue completes the novel’s circular structure. Selena, now integrated into Quartz Creek, encounters someone whose words echo her earlier precarity: “I can work […] I promise I can be useful if you give me a chance” (257). Where she once sought permission to stay, she now participates in extending it. The story closes with community in motion, suggesting that belonging is a continuous practice.



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