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, suicidal ideation, and animal cruelty and death.
Good Stab tells the story of the first soldier he ever killed. When he was still young, his band had captured a soldier who was severely injured. Good Stab was made to watch over him while the hunters went away. The soldier freed himself and tried to strangle Good Stab, but Good Stab used an arrow to kill the soldier, scarring his face in the process. This was how Good Stab got his name.
Although he had been killed on the Backbone, Good Stab reawakens in the snow sometime after the storm has passed. His skin is burned, signaling that someone tried to cremate him and his companions. He dashes down the mountain on all fours. With heightened senses, he can suddenly track animals by scent. He looks up at the sun, and its brightness overwhelms him. He follows the scent of a soldier, who turns out to be the one who killed him and the Cat Man. Good Stab drinks the soldier’s blood and sucks his bone marrow, restoring himself, until the soldier is dead. He soon vomits the bone marrow and realizes that he has become like the Cat Man. He weeps over the dead soldier and attempts to die by suicide with the soldier’s knife. He soon reawakens and discovers that his wounds have healed on their own.
Good Stab dresses in the soldier’s clothes and ties a cloth around his eyes to block the sunlight. Staggering through the Backbone, he discovers that with less physical activity, he can delay his thirst for blood. He feeds on a bear to survive through the winter, but he mostly draws on fat. The bear wakes up and breaks his arms. Good Stab escapes and finds himself back at the pond where the beaver lodge was. He vomits out the fat and sees that a younger beaver has taken the place of the one Good Stab had killed.
Good Stab fully recovers from his injuries after feeding on more animals. He spends the next month trying to help the beavers rebuild their lodge, but they refuse the wood he brings them. He feeds on “long-legs” (elk) in the Backbone but feels his humanity slipping away from him. He leaves Chief Mountain and reaches Two Medicine Lodges, a sacred Pikuni ground. There, he finds himself growing horns like the elk he’s been eating. The more he eats of a certain kind of animal, the more he will start to resemble them. This motivates him to feed on people again.
Good Stab feeds on several trappers to shed his horn nubs. He frees a swift-runner that has been caught in a trap but refuses to feed on it out of fear that it will affect his body again. Good Stab eventually goes hungry and becomes desperate to find another person to feed on. He attacks the first person he finds and tries to stop drinking when he realizes he has bitten a Pikuni boy. He fails to resist his hunger. The boy is revealed as White Teeth. Good Stab hugs him in grief.
Out of guilt for killing White Teeth, Good Stab flees for Blood Clot Hills and only stops when he smells a herd of blackhorns whose “robes” (skin) have been removed from their bodies. This horrifies Good Stab and distracts him long enough that an unseen hunter shoots him in the shoulder. He falls, and the blackhorns’ horns impale him.
Four days after Good Stab’s last confession, Arthur questions whether Blackfeet could know what cats were in 1870. He explains Good Stab’s account away as the story of a Blackfeet who survived a battle and then spent the winter trying to survive. Since the circumstances of his survival were so dire, Good Stab likely conflated fantastical hallucinations with real experience.
Arthur is upset to discover that Good Stab only pretends to eat the communion host he dispenses every Sunday. He also reveals that Good Stab ate none of the rabbit stew Arthur served him the previous Sunday. Though this only supports Good Stab’s claim that he only drinks blood, Arthur believes he is merely performing disinterest in food to convince himself it is true. He cites his inability to resist a parishioner’s offering of pease porridge as proof of his convictions.
Arthur administers the long-delayed funeral rites for the first murder victim. The funeral is mostly attended by Miles City residents who are curious about the man’s death. Good Stab is absent, though Arthur registers the presence of another stranger, who is well-dressed and traveling from out of state.
Arthur studies his teeth in the mirror when he remembers an offhand comment Good Stab made about the difference between their teeth. He dismisses the thought as vanity.
To test Good Stab on their next encounter, Arthur buys bacon from the butcher and then passes by the lodging house to ask if anyone has recently encountered any Blackfeet. He is directed to a camp at the edge of the city, where he encounters another Blackfeet named Amos Short Ribs. Arthur uses the bacon to gain Amos’s trust and then procures an orange cat from a nearby brothel to prove that Amos doesn’t know the word “cat.”
To Arthur’s surprise, Amos asks him about “The Fullblood,” whom he had seen leaving Arthur’s chapel. Amos implies his assumption that The Fullblood had been killed for committing violence against buffalo hunters. Amos doesn’t clarify what he means, prompting Arthur to wonder if he is confirming Good Stab’s link to the murders.
The well-dressed stranger from the funeral arrives at Amos’s tent and introduces himself as Dove, a Pinkerton detective from San Francisco. Dove explains that he has been sent to locate a missing family. Both recently discovered murder victims were members of this family.
Arthur’s meeting with Dove unnerves him. He recounts the details of the missing person’s case as Dove had explained it: a month earlier, the heir to a San Francisco newspaper had disappeared from home. His disappearance was tied to a man whom Arthur recognized at once as Good Stab. The heir turned out to be the first murder victim at Miles City. Shortly after his disappearance, his three sons also went missing. The second murder victim was one of the sons.
Dove wants to exhume the bodies to return them to California. Dove needs Arthur’s help, believing the murderer will admit to his crimes during confession. Arthur alludes to the idea that the murderer—or murderers—are Indigenous American. This prompts Dove to discuss the disappearance of a transport that the Pinkertons were guarding in 1870. Although Dove doesn’t explicitly mention what the men were transporting, Arthur deduces that this is the same transport in which Good Stab had discovered the Cat Man. Before they part ways, Dove suggests that the killer was fast and strong enough to carry the two victims without using a horse.
Good Stab attends the next Sunday service. When Arthur offers to stable Good Stab’s horse at the chapel, Good Stab declines because he doesn’t have a horse. He elaborates that animals detest him, which Arthur had previously observed with the city’s dogs. Good Stab adds that this is another consequence of his exile from the Blackfeet. Arthur reassures him that he is still Blackfeet in his heart, though Good Stab does not share his sentiment.
Good Stab is agitated when he sees the cat Arthur had taken from the brothel, now named Cordelia. Good Stab assures Arthur that there is nothing to worry about, so Arthur invites him to resume his confession.
Good Stab remains pinned to the blackhorn as the hunter who shot him approaches. While struggling to remove himself from the horn, the blackhorn awakens, still barely alive. Good Stab is reminded of a Pikuni blackhorn hunter named Kills-for-Nothing, whose face was torn off by a blackhorn she assumed was dead. Kills-for-Nothing went into the lake to protect her face from the sun. The skin of her face was placed in a medicine bundle, but it could not be used to cure her camp during an outbreak of smallpox. Tall Dog had surmised that Kills-for-Nothing’s skin would eventually fall back into the river, leading it back to her face.
Good Stab slices the blackhorn open and hides inside its carcass, eluding the hunters. The next day, Good Stab reemerges and is met by the blackhorn calves who were spared. This provokes Good Stab to declare war against the blackhorn hunters. He follows the hunters’ scent to their camp, leading the calves to the hunters. The hunters only see the calves, so they lure them with milk to kill them. Finally, Good Stab makes himself known, eliciting an angry warning from the hunters. Good Stab sneaks around the camp, quietly killing two of the hunters. Good Stab is hit with a tomahawk and nearly resigns the battle, but when a blackhorn calf licks him out of trust, he resolves to recover and kill the remaining hunters.
Good Stab feeds on one of the hunters, whose screams grab the attention of the others. A gunshot hits Good Stab, allowing him to drain the excess blood he’s consumed and recover his stamina. Good Stab escapes with the calf that licked him away. Later, he discovers the calf is white.
Chapter 6 marks a pivotal turn in the novel, shifting its historical drama fully into the horror genre as the narrative reveals Good Stab has become vampiric. His dependence on blood grants him superhuman abilities, such as heightened senses, super speed, unnatural strength, and an accelerated healing factor. However, Jones distinguishes Good Stab from the classic depiction of the vampire, as in Bram Stoker’s 1897 novel Dracula, to align Good Stab’s character arc with the novel’s key themes. Good Stab’s transformation is not just physical but moral, as his vampirism forces him to confront questions about his identity and loyalty to his Pikuni culture. One prominent example that demonstrates Jones’s authorial intention is the condition that Good Stab will transform into a certain species of animal the more he consumes them. This drives a moral quandary within Good Stab. To remain human, he must feed on human beings. The narrative soon reveals that one of his earliest human victims is White Teeth, the same boy he harmed with his old gun. To retain his humanity, Good Stab will have to find a way to look past his guilt as a killer. This introduces the theme of Identity as a Product of Moral Action and Memory.
Good Stab’s internal conflict heightens the tension between cultural and personal survival. The enmity between the Pikuni and the napikwan colonial settlers suggests that Good Stab ought to feed on the blood of the napikwan to survive. On the other hand, the conditions of Good Stab’s vampirism highlight that he will lose his Pikuni identity in the process, coming to resemble the white man more and more. The Cat Man from the previous chapters gives Good Stab a sense of what he could become as he continues to feed: something monstrous and less recognizably human. To remain Pikuni, however, he will actively have to contribute to the exploitation and self-destruction of his people. In this way, Good Stab’s supernatural condition represents the Pikuni people’s cultural disintegration due to violent settler colonialism.
These conditions clarify the meaning of Good Stab’s exile from his community. His new biology helps to inform the guilt he feels as he comes to Arthur for his confession, further developing Identity as a Product of Moral Action and Memory. Indeed, when he first appears to Arthur in Chapter 2, he comes wearing a white man’s religious garments. Jones drives the idea that clothing is a motif for identity, especially as the word Good Stab uses to describe the skin of the buffalo is “robes.” In Chapter 10, Good Stab recalls the story of Kills-for-Nothing, which revolves around her self-imposed exile after losing the skin on her face. This story is as much an allegory for Good Stab’s journey as it is a way to make sense of the blackhorn’s sudden reawakening. Good Stab longs to return to his Pikuni identity, evident in his storytelling and memories here.
As Good Stab reveals more of his past, Arthur becomes increasingly determined to discredit Good Stab’s narrative. He even goes so far as to confirm his suspicion with Amos Short Hand. Discrediting Good Stab gives Arthur justification to resent him. He becomes convinced that Good Stab is either trying to fool him or disprove the power of his religion. This escalates the conflict between them as Arthur drives to prove that Good Stab is connected to the murders at Miles City. The fact that Good Stab keeps providing Arthur with evidence that ties him to the murders, such as his lack of a horse, is suspicious on Good Stab’s part. Good Stab’s indifference to the evidence suggests that he must have a reason for volunteering it, even if it implicates him.
One crucial piece of evidence comes from Good Stab’s account of the one-man war he declares against the buffalo hunters, which continues to thematically develop How Greed Corrupts the Soul. How the murder victims are found matches Livinius Clarkson’s descriptions of old buffalo hunting practices. Good Stab declares war against the buffalo hunters because they only take the blackhorns’ robes, rather than use each part of their body as is the practice in Blackfeet culture. Good Stab’s anger for the brutal massacre of the buffalo signals the reemergence of his Pikuni identity. The motives for the death of the San Francisco newspaper men may be tied to a similar act of violence and motives related to the restoration of his Pikuni identity.



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