Abstract
The events of workshop again made news that afternoon.... In one week, Chief David, James and Jake would be known all over NWT. In two weeks, they would be forgotten. Robert Arthur Alexie Porcupines and China Dolls IN ROBERT ARTHUR ALEXIE'S 2002 NOVEL Porcupines and China Dolls, three former residential school students shock fictional hamlet of Aberdeen, NWT, when they disclose sexual abuse they suffered as young boys under care of institution. The people have gathered this day for a healing workshop to address suffering that alcohol has been causing in their community; rising action of novel is devoted to describing this dysfunction, as narrative follows main character, James Nathan, through his daily routine of drinking, casual sex, and suicide attempts. But when James and his friends Jake and David--now in their forties--finally put a name to that haunt them, they begin process of taking control of their lives and ending cycles of abuse. As David says to assembled people: I'm tired of runnin. This is where it ends. Right here 'n right now. This is where we make change for ourselves 'n for our children. I will run no more! (198). The characters' attempts to face their then becomes literalized, and what follows is an almost-apocalyptic battle scene, as beadyeyed, reeking demons begin to crawl out of walls and ceiling. The men become Warriors; they grow to impossible heights, and their voices are so mighty that the roof of community hall blew off and scattered to four winds (204). Armed suddenly with lances and swords, they take their bloody revenge on demons, dreams and nightmares that have been tormenting them (196). The community joins in epic struggle, and in an orgy of pop-culture references, victims of residential schools are re-empowered: James Nathan was like a knight in shining armour. He was like Kevin Costner in Dances With Wolves. He was like Crazy Horse charging into battle. He was like Geronimo at his best. Young girls dreamed of marrying him. Young boys dreamed of becoming him. Elders dreamed they were him and cried for good old days. (205) Alexie's readers will recognize this scene as cathartic climax of healing narrative--even if it is hyperbolic beyond even what Sophocles could imagine. By finally telling their stories in a public setting, victims seem to have purged themselves of hurt that has already claimed many lives in Aberdeen. As one of elder women has told them, It's gettin' rid of it through talkin' 'n cryin' that's gonna help you. If you don't get rid of it, it'll kill you like it's done to so many of our People (105). After battle is over, a cool, cleansing wind sweeps through hall, and people soon begin to mark re-emergence of some of their traditions: they travel out onto land to carry body of an abused former student to Old People--cremating him in old way--and after decades of obeying Church's regulations, they witness return of drum. Trough storytelling, ceremony, and song, people stitch their community back together again. It comes as a surprise, then, when James wakes up morning after his disclosure and has following exchange with his girlfriend: You okay? Brenda asked. Yeah, he lied. He got up and made coffee. Snow. Whatcha gonna do today? she asked. Check for caribou. Maybe blow my brains out too. You? (219) Despite climactic events of previous day, things seem to have returned to normal. Sure enough, only a few pages later, James attempts suicide again, and he will try it several more times before novel ends. The event of community's healing, after all, occurs only two-thirds of way through book, and rather than arriving at expected denouement and hopeful, happy ending, we watch characters continue to struggle, drink, and die. …
Published Version
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