64 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of graphic violence, death, racism, child death, and animal cruelty and death.
Etsy Beaucarne is a junior communication and journalism professor vying for tenure at the University of Wyoming. She entered this field against the wishes of her estranged father, a reputable chemistry professor who is now in hospice care in Denver, Colorado.
A librarian at Montana State University named Lydia Ackerman contacts Etsy, who informs her that a worker recently excavated a journal wrapped in buckskin from the wall of a parsonage. The journal was labeled “Arthur Beaucarne,” the name of Etsy’s great-great-great-grandfather. Etsy travels to Wyoming to examine the journal and finds that she has more in common with Arthur than with her father.
Etsy presents a news article from 1912, the year Arthur mysteriously disappeared from Miles City. The article reports the discovery of a male corpse near the Yellowstone River. Because the corpse was skinned, Miles City locals suspected that the murderer was an Indigenous American. Postal clerk Livinius Clarkson recalled a grisly massacre from 40 years earlier, though the report clarified that Clarkson was misremembering an event in which the city men killed buffalo calves to stop them from disturbing the city’s peace. The men disguised a bull as a buffalo and then skinned the calves after killing them.
Etsy compares this account with Arthur’s journal entry from the night before the article’s publication, March 26, 1912. In the entry, Arthur, a Lutheran pastor, learns about the victim from one of his parishioners. He goes into Miles City to seek more information. At the lodging house, regular patrons irreverently call Arthur a “limping reverend,” referring to the limp his three missing toes cause. Arthur learns that the corpse bled out before death. After he was skinned, his face was painted yellow and black. One of the lodging house regulars describes the skinned corpse as a “hump” to scandalize the minister.
Etsy wants to solve the mystery of Arthur’s disappearance, believing that this investigation will earn her tenure. Many of the journal entries in 1912 revolve around Arthur’s conversations with an Indigenous American man called “The Fullblood,” though she has yet to determine his connection to the mystery. She returns to Wyoming, where Lydia sends her digitized copies of the journal pages. The possibility of a connection with her ancestor excites Etsy, considering she has no other living relatives besides her father.
Etsy lives alone in an apartment. Her only companion is a cat called Taz. Taz shows affection for Etsy by bringing her gifts, usually dead animals that range from birds to prairie dogs. While cleaning Taz one night, Etsy hears a creak and scares herself into thinking that Arthur is there. She pushes herself to transcribe as much of the journal as she can of the journal through the night.
On March 31, 1912, an Indigenous American man attends Arthur’s Sunday service for the second week in a row, which bothers him. The man wears his hair long, suggesting that he never entered a Jesuit school, yet he dresses in the black robes of a priest. He also wears a pair of darkened glasses. Arthur assumes that the man killed the owner of the robes and then put them on because he thought they were required for entry. Arthur speculates that the man has come either out of hunger or curiosity. He also feels as though the man has come to judge him.
At the end of the service, the man waits until he and Arthur are left alone. The man calls Arthur “Three-Persons,” referring to the doctrine of the Holy Trinity of God. He explains that the glasses protect him from the symptoms of an illness caused by bright light. Arthur offers to put out all but one of the candles to make him more comfortable. As they talk, Arthur struggles to make sense of the terms the man uses to refer to animals, like “big-mouth” (wolf) and “blackhorn” (buffalo).
The man explains that he has come to confess. He introduces himself as Good Stab, though as a child he was called Weasel Plume. He is a member of the Small Robes, an Amskapi Pikuni band that forms part of the Blackfeet people. Good Stab is also known by the names Takes No Scalps and The Fullblood. The first of these names appears to distress him. Arthur reassures him that it speaks to his mercy.
Good Stab thinks that Arthur might not believe his confession. He implies that he has been exiled from the Small Robes. Arthur reverently submits himself to Good Stab’s confession by declaring, “I listen with a good heart” (35), marking the first of several conversations between them.
Good Stab was born to Wolf Calf, a Black-Patched Moccasin man, and Curly Hair Woman, a Small Robe who died in labor, during a year marked by falling stars (later suggested to be 1833). As an adult, Good Stab had a family, but they were all killed during a raid by the Black Paint People. This makes Good Stab around 80 years old at the time of his confession, though Arthur had observed that he only looked to be in his thirties or forties.
When Good Stab was 37 years old, a Pikuni named Owl Child killed a napikwan (white) rancher named Malcolm Clarke. US soldiers were dispatched to retaliate against Owl Child, but they committed the Marias Massacre on the camp of Chief Heavy Runner. Owl Child and an assembly of warriors remain fugitive and escape up the Backbone of the World (the Rocky Mountains), a sacred Pikuni site.
Good Stab and his hunting partner, Tall Dog, are also on the Backbone during this time, accompanying two other men—Hunts-to-the-Side and Peasy—at their request. They are trying to reach a wagon train that was recently attacked, hoping to hide the dead soldiers before anyone else finds them. Good Stab regrets not knowing that this excursion would mark the last time he ever left his camp.
When Good Stab’s party reaches the wagon train, they find some of the dead Napikwan soldiers, though they are dressed like Pikuni. Good Stab keeps two brass buttons from one of the soldiers’ coats in his moccasin. Tall Dog deduces that the ambush was staged to justify further violence against the Pikuni. The party starts cleaning up the site, but when they find a caged man in one of the wagons, it startles them. The man has pale white skin and is intelligent but feral. The cage is covered in tiny crosses.
Good Stab starts calling the caged man the Cat Man because of his feral behavior. The men repeatedly shoot the Cat Man with arrows and guns, but the Cat Man survives every shot. The men decide the Cat Man is a napikwan god but agree that he cannot be killed and buried on their hunting grounds. They soon remember a prophecy that the Great White God will climb Chief Mountain, causing it to collapse and create a haven that will protect the Pikuni from the napikwan. They decide to bring the Cat Man up Chief Mountain to see if he is the Great White God.
While securing Cat Man’s cage for the journey, Good Stab finds beaver pelts in the wagon. He realizes he can trade them in for a repeating firearm. Good Stab wants a repeating gun because his last one was destroyed in an accident that injured a boy named White Teeth. White Teeth’s mother subsequently ostracized Good Stab, forcing him to feel guilty for the accident. Getting a new gun will improve Good Stab’s hunting yield and restore his self-esteem. Because there are only nine pelts in the wagon, Good Stab only needs one more to secure the deal.
On their way to Chief Mountain, the party discovers footprint tracks and discerns that there are 20 napikwan soldiers nearby. An approaching snowstorm further endangers their journey. Peasy suggests they can avoid being detected if they follow the soldiers’ trail. At a steep passage, Good Stab is sent to retrieve wood that can be used as a yoke for the horses. At his age, Good Stab resents being ordered around like an assistant, but he goes anyway, putting his hope in the promise of a new gun.
Good Stab finds a beaver lodge next to a pond. Beyond the pond, a swift-runner (rabbit) directs Good Stab to the wood he needs for the yoke. However, Good Stab is so determined to get the new gun that he scares the swift-runner away. He destroys the beaver lodge and kills one of them for its pelt. Good Stab now sees this as the moment he condemned his soul since killing beavers is forbidden among his people.
Good Stab hides the beaver pelt so that he can retrieve it on his way to the traders. He suddenly hears gunfire and races back to the wagon, where his companions engage in battle with the soldiers. Tall Dog has been shot. Hunts-to-the-Side is already dead, having failed to use his gun against the soldiers. Good Stab gets shot in the shoulder. Peasy calls the attention of the soldiers, singing a death song. The soldiers fire on him at once, inspiring Good Stab to sing his own death song. He is too scared to commit to it. As Peasy dies, he releases the Cat Man from his cage.
The Cat Man swiftly kills four soldiers in a fit of violence. He takes one of the soldiers and drinks his blood. Good Stab retrieves a repeating firearm from one of the dead soldiers and then uses it to shoot at more soldiers. This catches the Cat Man’s attention, who rushes to Good Stab and drinks his blood as well. Another soldier stops them, who shoots at the Cat Man with a cannon that tears him in half. The soldier then fatally shoots Good Stab with his handgun.
The Cat Man’s blood pours over Good Stab’s face. Good Stab’s dying thoughts are of who will find them first: carrion birds or the Pikuni.
In his journal, Arthur writes about a cake he received from one of his parishioners, which he quickly finishes on his own. He continues to think about his conversation with Good Stab, whom he finds both interesting and mischievous. Soon after Good Stab’s first confession, Arthur went through his trunk to locate an old letter he had written in his youth. He has deliberately hidden the letter away for years because of how much it reminds him of a past he has been trying to escape. When he retrieves the letter, he assures himself that Good Stab’s arrival isn’t connected to his past. He throws the letter into the fireplace.
Arthur points out the historical inaccuracies in Good Stab’s retelling, from the misidentification of the cannon used in the battle to the details surrounding the hunt for Owl Child. He finally calls Good Stab’s battle with the soldiers a complete fabrication but promises to look past these oversights on the grounds of eliciting Good Stab’s confession in good faith.
Another skinned corpse is found outside the city. Sheriff Lacy Doyle calls Arthur to bless the body. Once again, the corpse’s face has been painted yellow and black. Livinius Clarkson suggests that the killer is more careful with painting now, though he clarifies that he is referring generally to Indigenous American people. He explains the old practices of buffalo hunting—including lining up the carcasses and poisoning them to discourage scavengers—and how Indigenous people would sneak into the hunters’ camps to skin the buffalo, painting the carcasses’ faces as a sign of respect. This bolsters their suspicion that the killer is an Indigenous American person, though the motives remain unclear. The sheriff lets his dog bite into the corpse’s meat.
Arthur shares that after his conversation with Good Stab, he checked the chapel offering plate and was shocked to find two brass buttons, much like the ones Good Stab discussed in his confession.
The sheriff’s dog dies, confirming that the recently discovered corpse was poisoned. This rumor spreads to Arthur’s congregation, which worsens his distraction throughout the next service. Good Stab is once again present.
Arthur writes in his journal that he feels he must record as much as he can from Good Stab’s stories, believing the Blackfeet will soon become extinct. He starts referring to these transcriptions as “The Gospel of Good Stab” to distinguish them from his entries.
After the service, Arthur serves Good Stab a bowl of rabbit stew. Good Stab recalls the Marias Massacre, which happened at the same time as the massacre that killed Good Stab. Arthur invites him to continue his confession.
In The Buffalo Hunter Hunter, Jones uses a nested narrative structure to explore the complexity of memory and truth. The narrative begins in 2012 with Etsy Beaucarne, who reads the journal of her ancestor, Arthur Beaucarne, written in 1912. Arthur, in turn, listens to the confession of Good Stab, whose stories take place across the 19th century, ostensibly leading up to the time of his arrival in Arthur’s chapel. This sets up multiple levels of narrative questions, all of which depend on each other for resolution. For Etsy to learn why Arthur suddenly disappeared, she will have to read Good Stab’s confession and see how Arthur reacts to it. Arthur may also learn more about the murders happening around Miles City as he continues to listen to Good Stab’s confession. Good Stab’s confession will also lead to the revelation of his great sin that requires him to share his life’s story with the pastor. By having Good Stab recall his life up to the moment of that sin, Jones introduces the theme of Seeking Justice for Past Sins, which he will continue to develop as the novel progresses.
Jones emphasizes the impact of colonialist bias through Arthur’s flawed moral judgment. Arthur’s racist bias against Indigenous American people drives him to immediately connect Good Stab’s arrival to the murders. This bias also drives him to discredit Good Stab as an unreliable narrator. While this has the effect of exerting the intellectual superiority he thinks he has over Good Stab, it also has the effect of downplaying the racist violence that Good Stab’s narrative exposes. Toward the end of Chapter 5, Arthur offhandedly comments, “At the site of that second massacre, as Good Stab would term it, though in actuality it sounds more like an unrecorded skirmish at best” (90). Arthur is an unreliable narrator, especially as hints of his sinful past and indulgent present behavior undermine the virtue he portrays in his journal. Arthur sees himself as the moral authority of Miles City, a role he assumes when he goes to investigate the first murder by seeking answers at the lodging house. Arthur’s character flaws are implied, however, in his gluttony, which he demonstrates when he consumes the cake not long after he receives it. This encourages one to remain skeptical of how he evaluates Good Stab while inviting questions about the truths he is trying to avoid.
Jones grounds the novel’s fantastical elements in historical fact to reveal the enduring impact of colonialism. In his first confession, Good Stab relates three significant events that will impact the rest of the novel. The first involves the historical Marias Massacre, which happens simultaneously with another significant event, Good Stab’s apparent death on the Backbone. Though Good Stab is not present at the former event, its simultaneity with the latter draws parallels between the two, such that Good Stab shares in the suffering of Heavy Runner’s camp by suffering his peril at the hands of soldiers. Jones wants to keep that parallel in mind, grounding the fantastical elements of his narrative in historical reality to underscore the influence of colonialism on the Pikuni. The third event involves the discovery of the Cat Man, who will later emerge as a secondary antagonist for Good Stab, even though their first encounter results in both dying. By intertwining the narrative’s fantastical elements with historical reality, Jones cements the novel’s exploration of colonial violence and its legacies on Indigenous communities.
Good Stab’s character reflects how unchecked greed and egoism can lead to one’s moral downfall. In keeping with the narrative conceit of confession, Good Stab indirectly attributes the event of his death to the flaws of his character. He presents himself as a low-status protagonist. Despite his age, Good Stab does not project authority among his peers, and others ask him to do menial tasks like securing the wagon and retrieving the yoke for their horses. While the possession of a new repeating gun may restore Good Stab’s self-esteem, the link between material possession and ego proves to be Good Stab’s fatal flaw. Instead of fulfilling the tasks he has set out to do, he diverts himself to kill a beaver, disrespecting the beliefs of his people. He subsequently views the moment he kills the beaver as the point of no return for his character: “I didn’t know how else to get a many-shots gun and be a man again, not a boy, so that was how I told myself this was all right, this one time. It was my first step into the darkness, Three-Persons” (64). Ironically, Good Stab wields a repeater gun during his last stand, but it hardly does anything to save him or restore his self-esteem. This introduces the theme of How Greed Corrupts the Soul, which Jones uses to connect personal corruption with broader cultural disintegration.
Jones also uses Etsy to demonstrate how inherited stories influence one’s sense of self and relationships. Good Stab’s aspirations resonate with Etsy, who longs to elevate her status and prove herself to her father by undertaking Arthur’s journal as a research project. Although the novel will later present Etsy’s reactions to Good Stab’s narrative, the parallel between their characters subverts her expectations, especially as she had assumed she would connect with Arthur as her long-lost ancestor. Instead, Arthur distances himself from Good Stab and Etsy through his condescension to Good Stab’s appearance and cultural mannerisms. This includes the use of Blackfeet terminology, like napikwan (white) and blackhorn (buffalo). Jones uses language to further distinguish Good Stab’s voice from Arthur’s while also portraying the worldview that defines Good Stab’s perspective. As the novel progresses, these terms will transition away into their English equivalents, signaling the shifts in Montana’s prevailing culture from Pikuni to the United States.



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