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Content Warning: This section of the guide discusses child death, animal death, and sexual content.
Chapter 20 begins in John’s point of view. Two days after John kills Magwich, Pocatello and his people leave, taking Wolfe. Washakie decides that after the buffalo hunt, his band will winter near Pocatello’s so Naomi can be near the baby until she is ready to “go home.” Both John and Naomi weep with gratitude. John trades three of his new horses for clothing and builds a wickiup (dome-shaped dwelling). It is September, and John hopes the wagon train crossed the Sierra Nevada before snowfall. Now that he and Naomi have stayed behind, they cannot possibly cross until spring.
The band travels east to hunt before cold weather sets in. They approach Crow territory and steal some horses from a village that stole from Washakie’s band previously. John learns that Naomi’s menstrual period has come again, proving that she is not carrying Magwich’s child. She sadly tells him she didn’t fight Magwich because she was afraid he would trade her and she would never see Wolfe again. He tells her there are many ways to fight. She was fighting for her brother and for her own life, and endurance is “a whole different kind of battle” (297), a harder one. She kisses him, and each says “I love you” to the other.
The perspective shifts to Naomi as the camp’s women watch the men, including John, work in teams to isolate animals and bring them down. While a buffalo feast is prepared, Naomi and John wash and then share a kiss.
The point of view returns to John, who describes the buffalo feast and the stories that follow it. They sleep and when they wake up, they make love. She tells him it hurts to be happy because she is alive and her parents and brother are not.
Chapter 21 begins in John’s point of view. The band leaves their hunting ground in mid-October and heads west to the valley where they will spend the winter. It features a hot spring that will make hunting in the cold easier, as animals gather around it for warmth. Washakie tells John that the days of living by hunting will soon be numbered for his people, and that they may need to learn how to farm.
John tames one of the horses stolen from the Crow, jumping on its back and letting it run for miles until it is spent. They are in the next valley, near an Indigenous village, and when John sees women carrying papooses he recognizes Wolfe.
The perspective shifts to Naomi, who is angry at John for risking a fall by breaking the horse. She goes outside to have an imaginary conversation with her mother, and Lost Woman finds her and says she will listen. Naomi says she feels trapped “where the lost wander” (315) because she can’t have Wolfe and she can’t leave him. She both loves and hates her life. Back in the wickiup, John tells her that he also misses his mother and feels close to her in the camp. Naomi asks her mother to help her find her way home, “wherever home is” (317).
Chapter 22 begins in Naomi’s point of view. Washakie and Hanabi make a goodwill visit to Pocatello’s village, and when they return they tell her that Wolfe is growing bigger. Biagwi and Weda call him Wolf Boy. She has begun to wonder if she and John should stay with Washakie’s band, although John says they must find her three brothers in the spring. They discuss the idea of taking Wolfe by force.
Naomi has begun painting again and paints a vision that Washakie had in a dream. Naomi recalls her mother’s dream about another woman feeding Wolfe. She tells Washakie her mother knew hard times were coming but she always found transcendence, rising above the things she couldn’t change. Washakie asks how one knows what can’t be changed, and John says people can only change “what could be” (321). Washakie’s vision was of the future: cars, airplanes, intermarriage between white settlers and Indigenous people. In the dream he was told not to fight, to choose peace with the white man.
The point of view shifts to John as he and Naomi go to bathe in the hot spring. On their way back they see Biagwi and Weda, who have brought Wolfe to Naomi because the baby is sick. They allow her to hold him, but he is flushed and still. Lost Woman tells Weda to let Naomi hold the child and say goodbye, and Wolfe dies in Naomi’s arms.
Naomi briefly narrates the scene of Weda snatching the dead child and howling, then putting him down and walking away.
John’s perspective returns as he thinks that Biagwi and Weda’s grief means Wolfe was cherished. Naomi washes the child’s body and wraps him in a blanket. Outside there are tracks in the snow, a woman and a wolf. Lost Woman says the spirit of Winifred came for her son and that now, Naomi can go home.
The Epilogue begins in Naomi’s perspective. In 1858, Naomi thinks of how Wolfe freed her, because she couldn’t either take him or leave him. She still thinks of her mother’s footprints in the snow and wonders if there is a “place called transcendence where all the blood runs together and we’re one people” (333).
She and John left Washakie’s band on horseback in early May with the three mules and two of the horses John won behind them. She thinks of how John will always be Two Feet, straddling two worlds, and all she can give him is something to hold on to.
After leaving the camp, they came to the spot where John buried their dead. They reached Coloma, California, a gold mining town, in July 1854 and found Naomi’s brothers there with Abbott. John started a mule business, and in 1856 they went to the Great Salt Lake Valley in the hope that Washakie would come to trade. He did, and he visited John and Naomi’s house and told John he was going to have a son and many descendants who would honor his name. Naomi concludes the memory by saying that the night she delivered her child, “there were tracks in the snow” (238).
Having developed her theme of The Nature of Home and Belonging in ways that test her characters to the utmost, Harmon now resolves them as she draws the novel to a close. In previous chapters, the author established “lost” as a state in opposition to belonging—which is itself something different from, and more important than, “home.” In Chapter 22, Naomi still feels “trapped where the lost wander” (316), but after Lost Woman both comforts her and reminds John that Washakie’s camp is not Naomi’s home, the true healing that leads to John and Naomi’s complete reconciliation can begin. Harmon emphasizes this concept when John thinks at the buffalo feast, “I found Naomi, and tonight, that’s all there is” (301). In finding belonging through proximity to Naomi, John discovers that love can create a sense of home and acceptance even when one is geographically displaced.
The concluding chapters also address The Complexities of Cultural Identity one last time. John embraces his ability to control his own destiny, finding peace with his new life with Naomi and with both sides of his heritage. Washakie’s vision predicts the changes coming for Indigenous peoples, with Washakie saying that the way of peace, the route he has chosen, is the only one that will allow his people to survive. His relatively favorable portrayal in the text thus remains heavily rooted in his acquiescence toward the white settlers and his willingness to embrace what the narrative defines as “modernity” (i.e., his visions of cars and airplanes), which implies that traditional Indigenous ways of life must inevitably give way to “progress.” This narrative point of view evades discussion of the deliberate persecution and erasure of Indigenous ways of life by the US government, which made the destruction of these ways of life a deliberate state policy, not a “natural” inevitability.
In these final chapters, John, Naomi, and Washakie all realize that the way to endure is to find the transcendence about which Winifred May once spoke: A way to rise above things that can’t be changed by thinking about what could be. For all three, “what could be” involves an idealized vision of intermingling cultures and erasing their differences. Washakie describes “red blood and blue blood” flowing together (321), causing John’s voice to crack with emotion as he interprets. Naomi repeats this idea in the Epilogue as she wonders if transcendence is “where all the blood runs together and we’re one people” (333). Naomi has told John she believes cultures can live “side by side peaceably” (58). The novel thus ends by emphasizing harmony between the white settlers and the Indigenous peoples.
The motif of mysterious footprints comes full circle in the last two chapters of the book. The tracks always signify a comforting visit from the spiritual world following a birth or death. The tracks that John glimpses after Wolfe’s death tell him that the baby is now with his birth mother, while the tracks Naomi sees after giving birth to her first child show that life goes on despite hardship, reinforcing The Power of Love in helping people to survive.



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