Wind from an Enemy Sky

This section of the novel brings in the last essential character to the story, who, while not physically present in the earlier chapters, is felt through his impact on the landscape: Adam Pell. At first glance, Pell appears to be a figure of empathy toward the Indigenous American characters. For example, he expresses concern over the investigation into his nephew’s killer, who the authorities, as well as his sister, believe to be one of the Little Elk men; he says, “I don’t want his death to be used as an excuse to satisfy a local prejudice” (138).

However, as the story continues, it becomes clear that Pell’s attitudes are grounded more in his intellectual curiosity and personal interests than in genuine respect or understanding. His fascination with Carlos Mendoza’s efforts in Peru provides evidence for this. While Pell is drawn to the story of Indigenous empowerment, his attraction lies primarily in the novelty and challenge of the project rather than in a genuine commitment to the welfare of the people involved. His description of their achievements reads more like a report on an interesting experiment than a testament to human dignity. He is also driven by a desire to implement Western industrial and agricultural practices in Indigenous communities, reflecting a belief in the superiority of these methods over Indigenous ways.

Finally, Pell’s pride in his museum’s extensive collection of Peruvian artifacts, which he describes as one of the largest in the world, shows his role in commodifying Indigenous cultural heritage. Museums, particularly those holding collections from colonized cultures, have a long history of issues related to colonialist exploitation and appropriation. Through Pell’s character, the text thus suggests that the erasure and marginalization of Indigenous people can take various forms and is not limited to people who harbor explicit and conscious biases against Indigenous people and culture.

The scenes at Henry Jim’s ranch also return to the theme of The Clash Between Indigenous Cultures and Western Ideologies. The physical structures in the space—the house and the tepee—are potent symbols of the characters’ inner worlds and the broader cultural dynamics at play. The house, with its white paint, manicured landscape, and modern amenities, represents an attempt to conform to the dominant culture’s expectations. However, it also signifies alienation and the loss of cultural integrity. In contrast, the tepee symbolizes a return to authenticity, simplicity, and community. When Henry Jim explains his choice to die in the tepee rather than the house, he says, “I want to die in my own house” (118). This act signifies his reconnection with his roots and a rejection of imposed cultural values. However, his failing health simultaneously symbolizes the fading of Indigenous traditions and the struggle to maintain cultural identity. His dialogue switches between English and his Indigenous language, reflecting the internal conflict of living between two worlds.

The intrusion of modern technology also has ongoing external influences on the community. The mixed reactions of the characters, ranging from acceptance to retreat, show the complexity of their situation. The actions of the white characters also show the continuation of their previous stances in interacting with the Little Elk tribe. Rafferty is concerned about Henry Jim’s sudden decline and wants a medical evaluation. Edwards, however, is dismissive and sarcastic, calling Henry Jim “[their] masterpiece” (120). However, Edwards also refuses to impose a Western medical examination on Henry Jim, recognizing that it would be offensive to him and his family. This highlights the fundamental difference in their approaches: Rafferty struggles to reconcile his bureaucratic instincts with the cultural sensitivities of the community he serves. At the same time, Edwards is more blunt but also more culturally sensitive.