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56 pages 1 hour read

David A. Robertson

The Great Bear

David A. RobertsonFiction | Novel | Middle Grade | Published in 2021

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Part 2Chapter Summaries & Analyses

Part 2, Chapter 6 Summary

Morgan and Emily leave the bathroom stall and find Eli holding a pair of scissors and appearing distressed. After Emily leaves to give them privacy, Morgan confronts Eli about his unusual behavior. Eli reveals that girls in his class have been pulling his braid and making derogatory comments about his hair. The boys in his class prevent him from using the boys’ bathroom, telling him “No girls allowed” (44) and threatening him with violence when he tries to enter. He feels helpless and trapped by the bullying, leading him to seek refuge in the girls’ bathroom.

Morgan tries to offer solutions and reassurance, suggesting they could spend more time in Misewa to escape the bullying. However, Eli feels this won’t solve the problem and is only a temporary escape. In a moment of despair, he decides to cut off his braid, which is a significant part of his identity. Despite Morgan’s attempt to stop him, he cuts his hair.

Part 2, Chapter 7 Summary

Eli is devastated after cutting off his braid. Emily joins them in the girls’ bathroom, and Eli shares that he has been bullied at school for his hair and ethnicity. Emily offers sympathy and reassurance, emphasizing that Eli’s hair will grow back and reminding him that bullies target people for their own issues, not because of anything wrong with their victims.

Eli confesses to Morgan and Emily that the bullying has made him wish he could change his skin color, to which Morgan firmly responds that he should never lose pride in his Cree heritage. They use the metaphor of a braid’s strength when woven together to symbolize their unity and support for each other.

Morgan is still grappling with whether to contact her birth mother, Jenny Trout. After adding Jenny’s contact information to her phone, she contemplates calling her but decides against it, fearing rejection and feeling uncertain about what to say.

Part 2, Chapter 8 Summary

After school, Eli is still troubled by the events of the day. As he and Morgan walk home, he is reluctant to discuss his drawings. They are soon confronted by a group of bullies, who mock them for their Indigenous heritage and Eli’s appearance. The bullies focus on Eli’s drawing pad, with the leader demanding to see its contents and calling it “gay stuff.” Morgan defends Eli, but the confrontation escalates, and the leader snatches Eli’s drawing pad.

Morgan and Eli are left feeling helpless and humiliated as the bullies walk away, taking the drawing pad that is essential for their travel to Askí. Eli manages to keep one torn sheet from the pad, but their ability to return to Misewa that night is now in jeopardy. Morgan and Eli feel defeated, realizing they won’t be able to escape to Misewa, their true home, where they feel safe and accepted.

Part 2, Chapter 9 Summary

Morgan and Eli return home in silence, each lost in their own thoughts. At dinner, their foster parents do not press them about their somber mood. Morgan retires early to her room and contemplates calling her birth mother but is interrupted by Eli. He shares a drawing of a younger version of Ochek, their friend from Misewa, sparking a conversation about the possibility of time travel to see him again. Morgan initially dismisses the idea as impossible, but Eli insists it might work, comparing it to their travels to Askí.

Morgan reflects on her complex feelings about contacting her birth mother and her conversation with Katie about the phone number. Feeling overwhelmed and conflicted, Morgan decides to join Eli and try to use the drawing to time travel and see young Ochek.

Part 2, Chapter 10 Summary

Morgan and Eli wait for their foster parents to fall asleep so they can sneak into the attic and use Eli’s drawing to attempt time travel. However, when they finally make their move, they find James waiting for them in their secret room. James explains that he and Katie are concerned about the siblings spending too much time in the attic and not getting enough rest. He asks them to not visit the attic that night, and Morgan reluctantly agrees, realizing the potential consequences of breaking this trust.

Eli is disappointed, feeling the urgency to escape to Misewa and see Ochek. Morgan shares his sentiment but also considers the implications of their actions. She comes up with a plan and suggests that they play hooky the next day to avoid waiting until nightfall for their journey.

Part 2 Analysis

A significant moment occurs when Eli, overwhelmed by bullying related to his Indigenous identity, cuts off his braid—a symbol of his cultural heritage. This act is more than a response to bullying; it represents a crisis of identity, in which Eli grapples with his sense of self in a society that marginalizes Indigenous cultures. The braid is a symbol that evokes not only Indigenous customs around hair but also abusive practices at residential schools, where Indigenous children were forced to cut their hair to assimilate into the dominant white culture. Morgan’s efforts to console Eli and reinforce the importance of their heritage illustrate the siblings’ ongoing struggle to reconcile their Indigenous identity with the pressures of the modern, non-Indigenous world. This conflict is not just personal but also historical, reflecting the systemic challenges faced by Indigenous peoples. The siblings’ response to this adversity, particularly their resilience and the support they receive from each other and their friend Emily, highlights the importance of community and solidarity in overcoming such challenges.

Morgan and Eli’s ability to travel between Earth and Misewa is a metaphor for their navigation between their Indigenous heritage and their life in modern Canada. Eli’s drawing pad as the key to opening the portal between worlds shows how the key to linking these worlds is in their hands and relies on their creativity and storytelling. The duality between worlds is further complicated by Morgan’s dilemma about contacting her biological mother, reflecting her internal conflict about her identity and belonging. For Morgan, her quest to reconcile with her mother and understand her story encapsulates the healing power of storytelling in Indigenous cultures. For Morgan, the struggle to connect with her biological mother and her Cree heritage is a journey to understand where she comes from and who she is. Storytelling in Indigenous cultures is often a healing process, helping individuals and communities cope with trauma and loss. The act of sharing stories can be therapeutic, allowing for the expression of pain, grief, and, ultimately, the journey toward healing. For Morgan, learning about her mother’s past, and by extension her own history, represents a step toward healing the wounds of separation and disconnection from her heritage. Her number on the Post-It note represents possibility—Morgan is on the cusp of bridging this gap, but she needs to find the courage to do so. Storytelling is used here as a tool to achieve harmony between past and present, between different cultures, and between humans and the natural world.

Indigenous storytelling is also about reclaiming histories that have been lost, suppressed, or distorted. This reclamation is vital in the context of historical traumas faced by Indigenous peoples, such as forced separation and cultural assimilation. Morgan’s quest to understand her heritage and reach out to her mother is symbolic of this broader effort to reclaim Indigenous narratives. It represents a counter-narrative to displacement and loss, highlighting resilience and the enduring strength of Indigenous identities.

Finally, storytelling in Indigenous cultures emphasizes the importance of community and interconnectedness. Morgan’s journey is not just about her individual healing; it’s also about reestablishing connections with her community and culture. Her story becomes a part of the larger tapestry of her community’s narratives, highlighting the interconnected nature of individual and communal healing.

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