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Content Warning: This section of the guide includes discussion of sexual content, racism, death, graphic violence, and animal cruelty.
Grainier now lives in his cabin year-round. In January, all is silent except the distant trains and howling wolves. He sometimes howls along. Gladys never visits again, but he dreams of her and often wakes to the sound of the train. Even though he never remarries, Grainier is not completely isolated, for he runs his hauling business. To afford lodging for his horses during the winter, he logs one final summer. However, his body is so broken down that at the end of the season, he returns to Bonners Ferry, never to work as a woodsman again.
Once, Grainier rides the train to Spokane, gets a hotel, and goes to the county fair, where he pays to ride an airplane. As he lifts off with the young pilot, Grainier notices the fragile wings and how the pilot’s father must manually turn the propeller. In the air, Grainier feels ill and has no sense of direction. The pilot says something incomprehensible and forces the plane toward the earth. Grainier’s stomach drops, and his life flashes before his eyes. The plane lands with a jolt. Ill, Grainier returns to his hotel and vows to leave Spokane.
Eddie Sauer, who Grainier has known since childhood, provides an excuse to leave. Together, they work on the railroad in Meadow Creek. However, after a month, Eddie offers Grainier $25 to help him move Claire Thompson, a widow, from Montana to Idaho. Grainier agrees.
With his horse and wagon leading Eddie, who is driving a borrowed Model T, Grainier begins the trek to Montana. At a gas station, the owner, Heinz, refuses to sell Eddie gas because Eddie used to sleep with the man’s daughter, who was a sex worker. So, Grainier returns on Eddie’s behalf and purchases the gas.
They spend the night in the woods, and in the morning, Eddie cleans himself up considerably. He admits that he is interested in Claire, but there is competition for her affection. Both men knew Claire when they were younger. She was attractive and worked as a nurse during World War I. When the men arrive at her house, they pile her possessions onto each vehicle. The mound on the Model T towers high with a mattress, two kids, and a dog on top. When they leave, Claire accompanies Eddie in the car.
A few hours down the road, they collect a gun at a neighbor’s house. As Grainier’s horses graze, Eddie tells Claire that her late husband was both a fine fellow and a nasty man. Then, he asks her if she would “marry a feller” (93). Angry, Claire rejects Eddie and rides with Grainier. When she questions him about getting married again, he says that he will not. Claire claims that the world needs all kinds of people, including hermits like him. Grainier bristles at being called a hermit. Soon, Eddie takes up with a Kootenai woman, and as Grainier comments about her, he realizes that he is talking to himself while alone in his cabin.
As Grainier ages, he still lives in his cabin every summer and fall. The area has regrown after the fire, but it is different. New plants sprout, the wolves are more distant while coyotes abound, and the trout are gone from the river. Despite this, about 10 years ago, a couple of days after Kootenai Bob’s death, he vowed to stay. On those cold November nights, once the train whistled, coyotes and wolves followed suit. The night of the full moon was especially noisy.
On edge, Grainier stood outside, watching the night sky. The howling wolves got closer until they burst into his yard and raced past. Then suddenly, they were gone. Only one remained: the wolf-girl. Terrified, Grainier observed what appeared to be a young girl whose arms and legs were bent. She squeaked, and Grainier realized that she was injured. After grabbing a weapon and a lamp, he re-emerged into silence. The only sounds were his footsteps and the wolf-girl’s labored breathing.
As he approached, she only moved her green wolf-like eyes. Instantly, Grainier knew that it was Kate. He moved closer and hoped she would recognize him, but she did not. Although human, she possessed an animalistic fear of being vulnerable, with her broken and bloody leg. Grainier bent above and asked what happened, but she only watched, with shallow breaths.
He carried her inside and placed her on his bed. After creating a splint, he pulled on her ankle to reset the bone. She fainted, and Grainier straightened the leg and mounted the splint. As she slept, Grainier studied Kate and thought of her as a “creature.” Then, he sat on a bench and fell asleep until just before dawn, when he heard the wolf-girl leap out the window. He watched her struggle with the splint and slowly make her way toward the river. Grainier intended to follow but never did.
The summer of 1935 is hot and dry. With ominous storm clouds overhead, Grainier experiences a heightened lust. He is also lonely because his dog had wandered off years ago to die alone. One Sunday, he goes to the county fair, where he plans to buy a dog. In town, the only sound is singing from the Methodist church, a place he visits less frequently because it reminds him of Gladys.
At the fair, he talks with two Kootenai women who are selling puppies and a bobcat. The puppies look like wolves. Suddenly, Grainier feels both fear and desire rise in him. When the older woman shows her calf and scratches it, Grainier flees without a dog. He finds himself in the town center with lust surging inside of him. All around, he sees theater advertisements promoting sexual films. Trying to calm himself but still thinking of the film Sins of Love, he hops on a train, noting that it is 11 days until the film shows.
At home, he dreams of the film and wakes himself with masturbation. For days, Grainier battles this constant lust, as dark clouds hang in the sky with no relief from the muggy heat in sight. He spends nights sleeping naked in his yard. Finally, on the day the film opens, he wakes to the sun. Blushing, Grainier begins to walk toward town but backtracks to wander his own property. He cannot watch the movie for fear others will see him and because he will go to hell.
Grainier falls to the ground and loses his sense of time. Around noon, he rises and walks for hours, thinking only of the word “pulchritude.” By sunset, he stands on a cliff’s edge overlooking a lake. With the Canadian Rockies in the distance, Grainier realizes that the lust is gone. He sleeps at the edge of the lake.
Two weeks later, Grainier treks to town and purchases a dog who would live with him for many years. Grainier himself will live into his eighties. In his lifetime, he will have traveled all over the Northwest, but he will never see the Pacific Ocean. He will have only ever loved Gladys, never been drunk, never owned a gun, and never used a telephone. His travels will take him on many trains, a few cars, and only one airplane. At the time of his death, he will not know who his parents were and will have left no heirs. In November of 1968, Grainier will die in his sleep, only to be found by hikers months later. They will bury him near his cabin.
However, the day he buys the new dog, Grainier obtains tickets to a show about Theodore the Wonder Horse. That night, Grainer sits in a crowded theater and watches the horse. Then, a wolf-boy, who wears a furry mask, capers across the stage. The audience laughs. They quiet, though, when the boy begins to tremble, brings his head back, and roars in a way reminiscent of foghorn, ships, trains, opera, and bagpipes all at once. Then, the theater goes black, and everything is gone.
Mourning for Gladys prevents Grainier from remarrying and results in a life of isolation, which highlights the theme of The Symbiosis of Grief and Solitude. After trying to teach one of the puppies how to howl, Grainier himself takes “it up as a kind of sport” (81), joining in the chorus of wolves in the distance. For him, this is much of his “conversation” at home, and he further notes that it is a way to momentarily ease the burden of his grief. Later, when he tells Claire Thompson that he does not plan to marry again, she notes, “God needs the hermit in the woods” (95). Grainier is taken aback at being called a hermit, a term reserved for a person living in solitude with little human interaction. He wonders about this moniker, and one day acknowledges that “he was all alone in his cabin in the woods, talking to himself, startled at his own voice” (96). Grainier finally recognizes that he has isolated himself from the world, and this solitude, the result of his grief, is actually continuing it. Earlier, he tells Claire that his choice to remain unmarried is because he is “more than satisfied with all of everything’s been left to” him (95). This remark refers to his love of Gladys and the memory of their marriage. Moreover, the link between his grief and his solitude manifests when, at the time of his death in 1968, he only had “one lover—his wife, Gladys” and that he died in his sleep and “lay dead in his cabin though the rest of the fall, and through the winter, and was never missed. A pair of hikers happened on his body in the spring” (113-14). Grainier chooses to remain alone, and the lengthy time between his passing and his discovery highlights just how isolated he was. Ultimately, the life of solitude Grainier chooses is a direct result of his love for Gladys and his grief over her tragic death.
Despite Grainier’s mourning, his recollections of Gladys inspire him and, along with the structure of the narrative, fuel the theme of Memory as Hindrance and Help. Although memory can ignite regret, it also urges Grainier to keep going. Despite living alone in the woods and howling with the wolves, he establishes a successful hauling business, and “he’d felt able to tackle the responsibilities that came with a team and wagon because Gladys had stayed in his heart and in his thoughts” (82). This is the closest Grainier comes to admitting that the memory of Gladys sustains him. He attributes his successes to her presence in his life, emphasizing how much memory also contributes to his survival in this harsh world. Furthermore, the overall structure of the narrative reinforces the significant role that memory plays in Grainier’s life. With vignettes that weave together flashbacks, present moments, and future happenings, Johnson emphasizes the necessity of memory in not only living in the moment but also supporting a future.
The changing world that Grainier inhabits continues to develop the theme of Industrial Progress and the Erosion of Wilderness. In Grainier’s later years, he notes the differences in his environment from before the fire. Although the blaze caused a growth of new plants, it seems that most of the animals did not return to the area. In fact, “he’d been hearing the wolves less and less often, from farther and farther away. The coyotes grew numerous, the rabbits increasingly scarce. From long stretches of the Moyea River through the burn, the trout had gone” (98). Although the suggestion is that the fire caused this metamorphosis, there are signs that mirror the loss of wildlife in developed areas, like the retreat of the wolves and fewer fish. Furthermore, an increase in coyotes marks a higher availability of food for scavengers, yet wildlife is becoming scarce. This contradiction suggests an increase in human development and encroachment, places where food is more abundant and where coyotes do not fear to go. This brief description of the wildlife suggests the degree to which industry and development have encroached upon nature. The erosion of wilderness is also emphasized in the final chapter, in which Grainier’s last years are detailed. The narrative’s emphasis shifts from the woods and wolves to detailing developing technology, including telephones, airplanes, and television—all technology that is a manifestation of society’s focus on industrial progress.



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