56 pages • 1-hour read
David A. RobertsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Morgan and Eli successfully convince their foster parents that they are sick, allowing them to stay home from school. Once Katie leaves for work, the siblings eagerly head to the attic to try time traveling using Eli’s drawing of a younger Ochek. Despite initial doubts, they open a portal to a past version of Askí.
Overwhelmed with emotion, they cry tears of happiness as they see a young and alive Ochek, who appears just as Eli drew him. Ochek, surprisingly unfazed by their arrival, greets them and invites them to see his village. Morgan and Eli, thrilled at the prospect of revisiting their friend and the world they cherish, eagerly accept his offer.
Morgan and Eli embrace Ochek, feeling a deep connection and joy at seeing him alive. Ochek, though surprised, allows the hug and inquires about their greeting customs. He mentions the weirdness of time near the Great Tree and expresses concern about returning home late, as time moves faster away from the tree. He invites the siblings to visit his village, Misewa, a stark contrast to their cold welcome the first time they visited. They agree but must first close the portal, which they do quickly.
As they journey to Misewa, Morgan wonders about the frequency of humans visiting through portals. Ochek shares a story about a giant, Mistapew, who took a soul near the Great Tree, warning others not to return. This story, similar to one told by an older Ochek in The Barren Grounds, hints at the reality of their tales.
Arriving in Misewa, they notice differences from their known version of the village, such as teepees and wigwams. Despite the vibrancy and warmth, Morgan is aware that this thriving community will eventually face decline and hardship. Ochek, apprehensive about his late return, is concerned about his father’s reaction but hesitantly welcomes them to Misewa.
Morgan and Eli follow Ochek to his longhouse, where they meet his parents, Mihko and Nicky. The siblings feel slightly awkward as Ochek’s parents initially focus solely on their son. Morgan and Eli speculate about the naming conventions of the animal beings in Askí. They are overheard by Ochek’s parents, leading to an uncomfortable moment where they realize they are being watched.
Ochek’s father, Mihko, and mother, Nicky, warmly greet the children. Morgan insists on being called by her name rather than just “Girl” in Cree, to which Mihko and Nicky respectfully agree. The conversation shifts to the portal and how Morgan and Eli arrived in Askí. The siblings explain the process of using Eli’s drawing to create a portal, which intrigues Ochek’s family. They discuss the existence of other portals in the North Country, and Morgan briefly fears speaking of the giant Mistapew, mindful of not offending Mihko.
Mihko reveals his belief in the concept of “blood memory,” suggesting that Morgan and Eli have an innate connection to Askí, which has drawn them to this world. He invites them to stay in Misewa, acknowledging their deep bond with the place. Both Eli and Morgan agree, feeling a sense of belonging and purpose in this world.
Morgan and Eli adapt to life in the past version of Misewa. They spend their first night in the fisher family’s longhouse, sharing stories about their lives. Eli talks about his experiences living on the land and being raised traditionally, while Morgan reflects on her foster parents, realizing they care for her genuinely despite their mistakes. She expresses a newfound appreciation for Katie and James, recognizing their good intentions.
Mihko and Ochek help set up a teepee for the children, explaining Misewa’s role as a gathering place for various animal beings. They learn about the nomadic lifestyle of many inhabitants, who follow food sources seasonally. The children also inquire about the wigwams in the trees and learn that they are home to seven Bird Warriors. Discussing local dangers, Mihko mentions the giant of the northern woods, wolves, and a Great Bear that terrorizes villages. Morgan wonders if this Great Bear is Muskwa, but she doubts it because Muskwa is warm and friendly.
Chief Wapistan and the Council visit the siblings, and Wapistan acknowledges their strength and resilience despite their youth. He formally welcomes them to stay in Misewa, recognizing their good intentions. The children settle into village life, enjoying time with a younger Ochek and becoming integral members of the community. Eli thrives in this environment, contrasting with his quieter nature on Earth. The experience in Misewa allows them both to temporarily forget their troubles back home, including Morgan’s hesitation to contact her birth mother and Eli’s issues with bullies.
Morgan and Eli are woken up early by Mihko and Ochek, who invite them to join a journey to the trapline. Excited, they accept and are given traditional leather clothing made by Nicky. The siblings appreciate the gesture and dress in their new outfits. After a hearty breakfast, they set off from Misewa before sunrise, carrying the necessary supplies for their trip. As they leave, Morgan observes Pip, the leader of the Bird Warriors, a formidable and watchful protector perched in the trees.
During the journey, Morgan inquires about the origins of the names Mihko and Nikamon, Nicky’s full name. Mihko shares that names often reflect significant events around the time of birth. He recounts that Nikamon means “a song,” named after the lullaby she would hum to herself as a child. Morgan finds this story touching, as it reminds her of her mother.
While stopping for lunch, the group hears a crackling sound from the woods. Mihko, sensing danger, extinguishes the fire and hides the food. Another crack reveals a large bear, which Morgan recognizes as Muskwa. The bear’s presence causes tension and fear, as its size and behavior indicate it is the formidable Great Bear mentioned earlier.
Morgan confronts the Great Bear, whom she believes is Muskwa. Despite the fear and confusion expressed by Mihko, Ochek, and Eli, Morgan feels certain that the bear’s kind nature from her past experiences with him will prevail. She approaches Muskwa confidently, trying to talk sense into him and remind him of his inherent goodness.
However, the situation quickly escalates as Muskwa becomes aggressive, standing on his hind legs and roaring at Morgan. Despite her attempts to connect with him, Muskwa doesn’t recognize her and prepares to attack. In a dramatic turn, Mihko and Ochek intervene, fighting the bear and trying to protect Morgan. Mihko is thrown aside, and Ochek continues to fight but is overpowered.
Morgan, paralyzed by fear, is unable to move despite Eli’s and Mihko’s pleas for her to run. As Muskwa closes in on her, Ochek tries to fend him off but is unable to prevent Muskwa from striking Morgan. Morgan loses consciousness amid the chaos.
The narrative deepens its exploration of identity, cultural continuity, and the relationship between past and present. For example, the concept of “blood memory,” as introduced by Mihko, is pivotal in these chapters. It suggests an innate connection to one’s heritage and land, transcending time and space. This idea resonates deeply with Morgan and Eli, who are in a constant struggle to reconcile their Indigenous identity with their present circumstances. Their time in Misewa, especially in its past version, allows them to immerse themselves in their cultural roots, providing a sense of belonging that they often miss in their life in Canada. This exploration of identity is a common theme in Indigenous literature, where characters often embark on journeys to reconnect with their ancestral heritage and understand their place in the world. Significantly, it is not just a reconnection to a static past or tradition but a reconnection to a way of being, a practice of adaptation and creativity built upon the strength of ancestral, embodied memory.
Blood memory is a metaphysical belief that one’s lineage carries the experiences and wisdom of the past, which can be accessed through rituals, ceremonies, or, as depicted in the novel, through the mystical journey of time travel. For Morgan and Eli, traveling back in time to meet a younger Ochek and immerse themselves in an earlier Misewa is not just a physical journey but a metaphysical exploration of their heritage. Indigenous metaphysical beliefs often view time as circular or cyclical, contrary to the Western linear concept of time. This perspective is reflected in the narrative’s use of time travel. By moving back and forth in time, Morgan and Eli experience their culture’s continuum, suggesting that the past is always a part of the present and future; it is always accessible through ritual, ceremony, and/or vision. This circular understanding of time reinforces the idea that history is not a series of isolated events but an ongoing, living process that shapes identity and culture. In many Indigenous cultures, rituals and ceremonies are gateways to connecting with ancestors and accessing ancient knowledge. While the novel uses the fantastical element of time travel, it metaphorically represents these traditional practices. The act of traveling through the portal can be seen as a ritualistic passage, enabling the characters to bridge the gap between worlds and times, much like how ceremonies in Indigenous cultures facilitate spiritual journeys and a deeper understanding of one’s self and the community.
The encounter with the Great Bear, Muskwa, symbolizes the siblings’ confrontation with both historical and personal traumas. For Morgan, facing Muskwa is not just about dealing with an immediate threat but also about confronting her fears and uncertainties about her heritage and identity. As such her internal conflict becomes externalized; finding a resolution with Muskwa will give Eli and Morgan greater clarity in their personal lives. By contrast, the warm welcome and acceptance Morgan and Eli receive in Misewa underscore the importance of community and belonging in Indigenous cultures. The narrative highlights how communal bonds and shared heritage form a crucial part of individual identity. This aspect is especially important considering Morgan and Eli’s experiences in the foster-care system, where they often felt disconnected and isolated. The sense of community in Misewa offers a contrast and provides them with a sense of security and acceptance.



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