51 pages • 1 hour read
Louise ErdrichA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The last chapter returns to Revival Road and the narrative voice of Faye Travers. A year or so has passed since Faye and Elsie took the drum to North Dakota, and now, on an autumn evening, they sit on their porch listening to the coyotes sing. To Faye, it “is the music of all broken and hunted creatures who survive and persist […]” (258).
Both women are startled by Kurt Krahe’s arrival. Unaware of the women sitting in the dark, he enters the porch, but before he goes further, Faye invites him to sit with them. Elsie excuses herself after a few minutes, and Kurt straightforwardly asks Faye why she ended their relationship. It has been more than a year since she changed her locks, during which time they’ve exchanged only polite nods in public. Faye does not have an answer for Kurt. They talk, but their words bring them no closer, and instead, “a gulf filled with words plunges down between” (261) them.
The next morning, Faye confronts her mother about Netta’s death, a subject they’ve never discussed. When Elsie closes her eyes following Faye’s account of what happened in the orchard, Faye understands that her mother “has always pictured and believed another story” (263)—a story that blamed Faye. Elsie confesses she was with her lover when Netta died, and Faye realizes they both have been tormented by unspoken guilt.
Meanwhile, following a series of unrelated incidents, including the loss of his marijuana field and a close shave with a Jeep Cherokee, Kit Tatro decides that he belongs to the Winnebago tribe. A letter from Bernard informs Faye that the drum saved the lives of three children and has brought his community together. Allowing that she is too skeptical “to throw myself into Native traditions as Kit Tatro wishes so sincerely to do” (269), Faye nevertheless plans to attend with Elsie what Bernard calls “feasting the drum” (269).
During a morning walk in the woods, Faye finds the remains of the Eyke’s chained dog. Kurt calls after she returns home to report that his art studio has been vandalized. She goes to him, and surveying the spectacular destruction, “a nameless wildness bubbles up” between them, and they “link arms […] naturally, as if no time had passed” (273). That night, Faye stays at Kurt’s house, and after calling Elsie, she imagines her motherly advice: “You have to love. You have to feel. It is the reason you are here on earth” (274).
Faye visits Netta’s grave, as she does every fall, and sees ravens tumbling playfully in “what must be an air bank rising and falling” (276). Supposing that the ravens eat the insects “that have lived off the dead” (276), Faye thinks, “then aren’t they the spirits of the people […] buried here?” (276). When one raven swoops towards her, Faye calls out Netta’s name. The bird soars upward again, and then “she plummets down […] laughs, and disappears” (276).
In Part 4, Faye reclaims the role of narrator after having disappeared, almost entirely, from the preceding two parts of the novel. She returned from North Dakota some time ago and presumably recognized the parallels between her painful past and Bernard’s story of the drum girl, but has yet to make changes accordingly. At the judge’s house, Chook advised that you must “wear down […] sorrows using what you have, what comes to hand. You talk them over, […] you don’t let them sit inside” (105). When Kurt joins Faye on her porch, they do talk, but they speak words “by rote” (261), and the emptiness of the words only creates “a rift that keeps widening” (261). Faye thinks, “I know there must be better ways, forms of communication that work […]. But what are they, what can they be, other than words?’” (261).
Like their words, the narrative Faye and Kurt keep repeating (“by rote”), that has, over time, hardened like stone so they cannot change their positions. They need to revise their story, as Bernard did when he offered an alternative narrative to his father’s life-long depiction of Anaquot throwing her daughter to the wolves: The young girl, true to her generous nature, chose to sacrifice herself to save the others in the wagon. Following her failed exchange with Kurt, Faye does indeed depart from her rote relationship with Elsie. Resolving to uncover “what each of us is made of, what differing stories” (263), Faye forces a dialogue with Elsie about Netta’s death that allows a new perspective of the event for both women.
When Kurt’s studio is vandalized, the demolition of his stone sculptures symbolically shatters the fossilized communication patterns between him and Faye, and their relationship is revived (echoing Revival Road) and begins anew. Faye’s plans to return to Ojibwe country for “feasting the drum” (269) reflect a new willingness to connect with her ancestral community, though she does not dismiss the rational, skeptical parts of herself. Comparing her own measured reappraisal of her roots to Kit Tatro’s zealous adoption of a Winnebago identity, Faye concedes that “to suddenly say, I believe, I am convinced, even saved, and to throw myself into Native traditions as Kit Tatro wishes so sincerely to do, is not in my character” (269, italics original). Nevertheless, the novel suggests that Faye has become more herself in its closing chapter and has broken free of a negative pattern precipitated by the trauma of her sister’s death and the trauma of earlier generations.
By Louise Erdrich