59 pages • 1 hour read
Thomas KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Coyote, a trickster god, is asleep and dreaming. One of the dreams escapes and starts making a lot of noise. The dream believes it is in charge of the world and becomes upset when it sees it is surrounded by water. It wakes up Coyote, who introduces himself and claims to be very smart. He calls the dream Dog, but the dream gets everything backward, and starts calling itself “GOD.” The narrator, who talks directly to Coyote, suggests things are getting out of control. The dream questions why there is water everywhere, and the unnamed first-person narrator says they will explain how it happened.
Pages 11, 16-21, 28-38, 41-45, 55-68, 79-92, 98
Lionel Red Dog and his auntie Norma drive to the reserve for the Sun Dance. On the way, he reflects on the three major mistakes of his life. The first mistake was getting his tonsils out as a child so that he could miss two weeks of school. While in the hospital awaiting the surgery, Lionel impersonated another patient who won a free plane ride to Toronto. On arrival at the Sick Children’s Hospital, Lionel realized they intended to perform heart surgery on him. The mistake was cleared up, but the error made its way onto a file that continues to cause problems for him in the present, such as being denied insurance and being turned down for a job because of his “heart problems.”
His next mistake occurred during his second year at university. He worked for the Department of Indian Affairs and went to Salt Lake City to present a paper for his supervisor. This happened during the occupation of Wounded Knee, and Lionel inadvertently found himself with a group of activists and was arrested for disturbing the peace. The arrest cost him his government job, and like his “heart problem,” his criminal record occasionally causes trouble for him despite the fact that his presence was unintentional.
Lionel’s third mistake was taking a job at Bill Bursum’s Home Entertainment Barn. He had planned to go back to school, but when he couldn’t afford it because the band’s money had run out for that year, he accepted the job and told himself it was just to get some savings. Each year he continues to tell himself he will apply for school but always waits until it is too late.
Throughout the drive, Norma peppers Lionel with insults and laments his failures. She claims he reminds her of his uncle Eli because they both went to university and want to be white men. She complains he doesn’t visit the reserve enough, whereas even Eli eventually came home. Norma takes over driving because Lionel is falling asleep at the wheel, and she stops to pick up some Indigenous hitchhikers. When Lionel steps out of the car, he is ankle deep in water and notices that one of the hitchhikers is wearing a black mask.
Professor Alberta Frank gives a history lecture on an 1874 campaign to force the Southern Plains tribes onto reserves. The US Army targeted Indigenous individuals they saw as dangerous or troublesome and put them on a train to Fort Marion in Florida. While imprisoned, many of these individuals drew pictures of their experiences. All but one of the students are disinterested in the lecture.
After class, Alberta receives a phone call from Charlie Looking Bear, who wants her to come see him in Edmonton that weekend. She declines because it is Lionel’s birthday, and she has plans with him. She reflects on being in a relationship with both Charlie and Lionel: Being in a single relationship stresses her out because she feels pressured toward marriage, while being with both men allows her to keep them at a distance without being alone. She wants a child but not a husband, but doesn’t believe either Charlie or Lionel could father her child without wanting to get married. One night, she attempts to go out on the town to find a willing but uninformed stranger to be the father. She cannot go through with it, however, and returns home to cry in bed.
As she drives to the reserve, Alberta remembers her failed marriage with Bob. After a year of passion, things deteriorated when Bob wanted her to drop out of school and get a job so that he could go to school himself. She then remembers the night her father drunkenly crashed his truck into the outhouse and collapsed outside in the snow. Alberta’s mother wanted to leave him out in the cold, but eventually decided to drag him onto the porch and put a blanket over him. In the morning, he was gone and never came back.
Pages 12-16, 21-28, 46-55, 73-79, 92-98
Four elderly Indigenous people, going by the names Lone Ranger, Hawkeye, Robinson Crusoe, and Ishmael, debate whose turn it is to tell the story. Lone Ranger claims it’s his turn but struggles to begin. They determine they are in Canada and are happy to be back and outside again. While they wait for a ride, the Lone Ranger reveals that he believes he is omniscient.
Sergeant Cereno and his partner Jimmy interview Babo Jones, a janitor at the hospital, about four missing, elderly Indigenous patients. Babo used to talk to them about fixing the world, and they would occasionally tell her stories. Babo does not cooperate with the sergeant’s questions. She says the Indigenous people were gone when she arrived in the morning and reveals that they are 400 or 500 years old, according to Dr. Elliot and Dr. Hovaugh. She claims the patients were women, not men. Throughout the interview, Babo watches her car (a Pinto) in the parking lot—it becomes increasingly submerged in water after a dog pees on it. Sergeant Cereno grows impatient and leaves while Babo tells one of the stories he heard from the Indigenous foursome to his partner.
Meanwhile, Dr. Joseph Hovaugh talks to Dr. Eliot about the Indigenous escapees. He insists that each time they escape (which has happened 37 times before), a natural disaster occurs somewhere. Dr. Hovaugh believes the four elders are dead this time because they are very old and should have died long ago, but Eliot refuses to sign a death certificate without seeing their bodies. Later, he sits behind his large colonial desk, starting out the window at the hospital grounds—it is spring, and the garden is beginning to blossom. His secretary interrupts and tells him the police want to see him about the escapees. During the interview with Sergeant Cereno, he is reluctant to call the elders dangerous but doesn’t rule it out. He refutes the idea that they are women and reveals that they were being treated for depression. He doesn’t know how they escaped because their door is always locked.
Pages 38-41, 68-73, 98-100
GOD, who is used to the story starting with a dark void and formless world, wonders where all the water came from. The first-person narrator says that there are two worlds: the Sky World and the Water World. GOD argues that there is only one world, but the narrator begins to tell the story of how First Woman fell off the edge of the Sky World onto the back of Grandmother Turtle in Water World. Together, they created land and eventually a garden where First Woman lives with Ahdamn.
GOD and Coyote constantly interrupt as the narrator continues the story. GOD gets upset when First Woman and Ahdamn start eating food from a particular tree. He jumps into the garden to tell First Woman that it is his world and all the stuff there belongs to him because he created it. First Woman continues to eat and eventually decides to leave with Ahdamn because GOD is a stingy, grouchy neighbor. They head west, looking for a new home, and come across a canyon with a lot of dead rangers at the bottom. More rangers arrive and assume that because they’re Indigenous, First Woman and Ahdamn are responsible for the dead rangers.
First Woman takes some black cloth out of her purse, cuts eye holes in it and ties it around her head, claiming she is the Lone Ranger. The rangers believe her and leave. However, just as she removes the mask, some soldiers arrive. They arrest her and Ahdamn for being Indigenous and send them to Florida on a train with a lot of other chained Indigenous people. On the train, they draw pictures, and Ahdamn becomes famous for his art. First Woman realizes the world is broken and needs to be fixed, so she puts on her black mask and leaves through the front gate with Ishmael, Robinson Crusoe, and Hawkeye. Coyote is confused about who these new people are, but the narrator assures him they’ll meet them later.
Because of the fragmentary structure of the text and the copious amounts of reference and allusion, reading Green Grass, Running Water can be disorienting at first. There are multiple plotlines that constantly interweave and overlap, and it can be difficult to ascertain what is real and what is not. The plotline concerned with Lionel, Alberta, and Charlie is written in a realist mode, while the creation stories contain supernatural elements, with the escaped elders’ plotline somewhere in the middle.
Adding even more complexity is the chain of narration that implies the reader is not even hearing the story directly: The novel’s unnamed narrator tells the story to Coyote, but it is implied they are actually retelling a story they heard from the escaped elders. Finally, there is the fact that each section of the text ends by cycling back to the beginning, so that the story can be retold in the next section. These structural choices reflect King’s attempt to tell a story that reflects Indigenous ways of thinking about the world by emulating oral traditions in written form and blurring the line between reality and fantasy.
These narrative strategies also create stories that are dialogic rather than monologic—that is, stories that capture a plurality of voices and perspectives rather than just one. The juxtaposed plot fragments and references invite open interpretation: Each reader brings their own knowledge and experience to the text, which means two juxtaposed images could lead to different interpretations; likewise, some readers may miss allusions that others don’t, adding layers of meaning based on an individual’s existing literary and cultural knowledge. This method of creating connections through the reader’s interpretations draws the reader into the creation process. The cyclical nature of the novel encourages this as well: The stories are about the process of creating meaning rather than objectively defining it. This ties directly into traditional Indigenous pedagogies, in which people are allowed to find their own meaning from stories, regardless of what the storyteller intends.
The introduction of Lionel and Alberta reveals they’re both dealing with a sense of dissatisfaction in life resulting from things that feel outside of their control. This introduces the theme of Indigenous Identity in Contemporary North America. Lionel is trapped in a job he doesn’t like and struggles with his Indigenous identity. Alberta is less aimless than Lionel but feels equally trapped by social expectations around gender roles. For both characters, the juxtaposition of flashbacks to key, related moments in their past emphasizes the formative role these memories play.
For Lionel, it’s the three mistakes he made that continue to haunt him. In each mistake, he was a passive or uninformed participant, subjected to the machinations of government systems beyond his control—the health system, the justice system, and a lack of access to the education system. Significantly, each of these systems can be mapped as tools of colonial oppression. King suggests that Lionel is not fully to blame for his apathy, as his feelings of powerlessness in the present can be traced back to these experiences, which mirrors the way historical trauma continues to have lingering effects on Indigenous peoples.
For Alberta, her experiences with her ex-husband and absentee father shape her feelings toward men. Bob, her ex-husband, quickly expected her to sacrifice her career for his. Her father, who is later revealed to hold very traditional ideas about gender roles, abandoned the family and left all the responsibility to her mother. While giving her history lesson on the Indigenous prisoners at Fort Marion, most of her class is completely disinterested, reflecting the attitude many North Americans of European or other descent have toward Indigenous history and culture. However, King’s decision to open the text with examples of past experiences continuing to impact Lionel and Alberta in the present serves as a reminder that cultural trauma persists through generations.
King’s interest in creation stories is evident from the first page and continues throughout the text as he places stories from Christianity and the Western literary cannon in conversation with traditional Indigenous stories and oral traditions. Through this process, King highlights the ways in which these Western stories and the values they reflect have the potential to control and dominate others. King’s rewriting of Christianity starts with God springing from one of Coyote’s dreams and immediately attempting to assert his dominance when he disagrees with the narrator on how the story should start. This hunger for authority is in stark contrast with the way the escaped elders approach storytelling as a democratic and collaborative process.
Later, when the story of First Woman intersects with the story of the Garden of Eden, God’s imperial tendencies are brought to the forefront. He sees land as private property and nature as something to be exploited for profit. First Woman’s rejection of God as grouchy and stingy makes the direct connection between these ideas and colonialism, which often includes coercive religious conversion, even clearer. Interweaving Christian and Indigenous story traditions in this way undermines the authority of Christianity by implying that it is not the only or oldest creation story.
First Woman’s story also works as the structural backbone of this part of the novel. By the end of her story, she has changed into the Lone Ranger, which implies a connection between her plotline and the escaped elders, who are in turn picked up by Lionel and Norma. First Woman is also captured and sent to Fort Marion, which creates a connection with the historical narrative Alberta discusses with her class.
By the end of Part 1, King has woven together creation myths, a realist narrative, a literary narrative, and a historical narrative. The revelation that all these plotlines are potentially connected blurs the lines between reality and fantasy. On top of this, the narrative circles back to the beginning, which further suggests that these stories are themselves in no way permanent or authoritative. The elders, along with the narrator, emphasize the importance of getting the story right, but the cyclical nature of the text ultimately suggests that there is no right or wrong story—rather, what needs to be right is the manner and process through which the stories are told.
By Thomas King