63 pages 2-hour read

The Last Report on the Miracles at Little No Horse

Fiction | Novel | Adult | Published in 2001

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Chapter 19-EpilogueChapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, death, suicidal ideation, addiction, and substance use.

Chapter 19 Summary: “The Water Jar”

In mid-July of 1962, a man sits in a Chevrolet outside the convent for three days until police question him and learn that he is Father Gregory Wekkle. When his thirst finally gets the better of him, he approaches the convent and asks Sister Mary Martin for water. He then seeks to give his confession to Father Damien, but he finds himself overcome with emotion and cannot complete the ritual. As Agnes sits in the confessional, she suddenly realizes his identity and despairs because she does not know whether she has the ability to grant him absolution.


Seeing that Gregory is dying of cancer caused by alcoholism, Agnes takes him to her cabin, where he lives with her for several weeks. Although the reunion offers them both a form of healing, Agnes finds herself troubled by Gregory’s subtly sexist condescension, and she wonders if he showed her similar condescension during their romance years ago. Gregory finally dies in a hospital in the city of Fargo. Later, while sitting alone in a park, Agnes encounters the unhoused Mashkiigikwe, one of Kashpaw’s former wives, who is now burdened by an addiction to alcohol.


Mashkiigikwe recognizes Father Damien and taunts the priest, saying, “Go back and save the others like you saved me” (305). Reflecting on the woman’s bitter words, Agnes suddenly grows angry and shoves money at Mashkiigikwe, declaring, “I didn’t put the bottle in your mouth! I didn’t make you suck the sauce!” (305). In a moment of lucidity, Mashkiigikwe bewilderedly wonders how she came to be addicted and without a home.

Chapter 20 Summary: “A Night Visitation”

In 1996, Agnes is visited once again by the demonic black dog, a supernatural entity that claims to have killed her lovers. Recalling her love for Nanapush, she fights the tempter and strangles it until it vanishes. The next day, Father Jude finds Father Damien in a state of miraculous intoxication even though no alcohol is present.


Father Jude decides that despite Sister Leopolda’s flaws, she has indeed worked miracles and is worthy of a hagiography. He brings communion to Marie Lazarre, using the ritual as an excuse to interview her as part of his attempt to pen an idealistic biography about Leopolda’s life and supposed miracles. Although initially reluctant to speak with him, Marie eventually reveals that when she was younger, she learned from a woman named Sophie Morrissey that the cruel Leopolda is her biological mother. Marie then recounts her youth as a bootlegger after leaving the convent, providing Jude with crucial details that prove Leopolda’s cruelty and disqualify her from consideration as a saint.


Overwhelmed by these revelations about Leopolda’s true nature, Father Jude turns to other pursuits and falls in love with Lulu despite his attempts to resist. The weight of these discoveries and his unexpected romantic feelings complicate his original mission to document Leopolda’s supposed sanctity.

Chapter 21 Summary: “The Body of the Conundrum”

Father Damien finally reveals to Father Jude that Sister Leopolda was a murderer. He explains that her supposed stigmata were actually wounds from the barbed-wire rosary that she used to kill Napoleon Morrissey. He also explains that Leopolda’s subsequent visionary trance, physical rigidity, and long illness were actually manifestations of tetanus, which she contracted from the rusty wire. Jude realizes that Damien likely kept this secret only because Leopolda knew a secret about him, but Jude does not know what the elderly priest’s secret might be.


While searching through church records, Father Jude finds Lulu’s birth certificate, with its clerical error placing Father Damien’s name alongside Nanapush’s as the father. Jude mistakenly concludes that Damien is secretly Lulu’s father. Seeing this as a sign that Damien will understand his own conundrum, Jude confesses his love for Lulu to Damien and reveals his misguided “discovery” of Lulu’s supposed paternity. Hearing this confession, Agnes strategically declines to correct his misunderstanding. This mutual secret keeping bonds the two priests in an uncomfortable alliance.


Overwhelmed by the extent of Leopolda’s cruelties, Father Jude has a revelation and comes to believe that Father Damien, not Leopolda, is the true saint of Little No Horse.

Chapter 22 Summary: “Father Damien’s Passion”

To prevent her female body from being discovered after her death, Agnes plans her own demise. After sending a final letter to the Pope, she shares a silent, understanding farewell with Mary Kashpaw. Agnes then rows to Spirit Island on Matchimanito Lake, chops up her boat for firewood, and drinks wine while preparing to meet her end. As she sits and contemplates the important moments of her long and unusual life, she finds herself dwelling on Nanapush’s long history of sly tricks and humorous escapades. While laughing uproariously at these memories of Nanapush, Agnes suddenly experiences a fatal stroke.


Mary paddles to the island and finds Agnes’s body, along with a note containing money and specific instructions for her burial. Following the written directions, Mary places the body in the damaged boat, weighs it down with stones, and sinks it in the deepest part of the lake.

Epilogue Summary: “A Fax From the Beyond”

In 1997, an anonymous donor gives a fax machine to the convent at Little No Horse. Father Jude, who is now living at the reservation and intends to pursue Father Damien’s canonization, helps Sister Adelphine set up the machine. The fax machine immediately receives a transmission from the Pope. This message is addressed to Damien and explains that the files containing Damien’s long correspondence have been accidentally destroyed. The Pope now requests copies of Damien’s life’s work.


The papal letter is framed and hung in Father Damien’s cabin, which Mary Kashpaw now tends to as a shrine. Mary continues to feel Damien’s presence in the space, and she maintains it as a sacred memorial to the priest she served faithfully throughout her life.

Chapter 19-Epilogue Analysis

As the narrative reveals the details of the later years in Agnes’s long career as a priest, she must undergo an intense reckoning when Gregory’s return compels her to reevaluate her past choices. Specifically, his sudden arrival forces her to confront the complexities of her performed masculinity and the psychological toll of her decades-long role as Father Damien. When she realizes that Gregory subtly condescends to her and probably always did so, this new perspective reveals how thoroughly she has internalized the Church’s patriarchal hierarchies even while subverting them. Gregory’s condescension becomes particularly painful when he calls her “Agnes” in private, making her feel as though he has stripped away her deepest secrets and casually displayed them to the world. The violation that she feels upon hearing him say her birth name underscores how completely she has embraced the identity of Damien as her authentic self.


The motif of disguise reaches its ultimate expression in the intricate web of secrets that binds the novel’s conclusion. Agnes’s revelation to Father Jude about Sister Leopolda’s murderous nature creates a complex dynamic of mutual concealment, as both priests harbor knowledge that could destroy the other. When Jude misinterprets the birth certificate, mistakenly believing Damien to be Lulu’s father, he essentially projects his own romantic feelings for Lulu onto the elderly priest and assumes that Damien once experienced a similar indiscretion. This misguided assumption causes him to feel a false sense of kinship with Damien, and Jude goes on to rationalize his silence about Damien’s supposed transgression while ironically remaining unknowing of Agnes’s true secret.


In a final analysis of The Fluidity of Gender and Identity, Agnes’s preparations for death emphasize her need to prevent anyone from discovering her secret, for she knows that the revelation of her biological sex would, at least in the eyes of the Church, undermine her life’s work at Little No Horse. She also wishes to prevent her complex identity from being reduced to a spectacle. Thus, as she embraces customs more akin to her chosen Ojibwe community, the narrative once again resurrects the motif of water to create a structural and thematic resolution to Agnes’s spiritual journey. Her decision to die on Spirit Island represents a deliberate return to the transformative waters that first carried her into Father Damien’s identity. However, unlike the chaotic flood that destroyed her farm and erased her musical memory, the water in which her body is submerged functions as a medium of reunion and transcendence. When Mary Kashpaw honors Agnes’s wish to be laid to rest in the lake, she fulfills the symbolic cycle of Agnes’s life. The very waters that once transformed Agnes into a priest now receive her body in a final sacrament, and the lake itself becomes both grave and sanctuary, protecting Agnes’s secret while honoring her chosen identity.


In the novel’s Epilogue, the Vatican’s posthumous request for Father Damien’s correspondence delivers a note of delicate irony to the narrative, representing the long-awaited recognition that Damien craved from the Pope over many long years of one-sided correspondence. Additional irony can be found in the fact that the Vatican now desires to preserve Damien’s life’s work but remains ignorant of his true identity. This disconnect reflects the Church’s broader failure to recognize the full humanity of the people who follow its tenets, and thus, the scene also represents an indirect critique of the damage that the Church has done to the cultures of Indigenous peoples like the Ojibwe. By contrast, Mary’s maintenance of the shrine to Damien’s life represents an alternative form of memory keeping—one based on love and service rather than on official documentation. The novel’s final image of Mary’s dream, in which she follows Damien through the underbrush and digs toward her priest through the layers of the earth, transforms the act of remembering into a form of spiritual archaeology and suggests that the most meaningful stories about the deceased live in the hearts of those who loved them best.

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