48 pages • 1 hour read
Margaret VerbleA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide describes and discusses the novel’s depictions of racism.
Ghosts and hauntings appear across the novel as a recurring motif for The Lasting Effects of Grief and Trauma. The ghost of Millwood, Clive’s cousin who died in the war, embodies the long-lasting trauma carried by veterans of the Great War. While digging through the cave to rescue Two, Clive is “transported in body and mind back to the trenches, to lifting and tossing sandbags, wood, and corpses” (97). As he continues to dig, “dear dead friend after dear dead friend [arises]” before Clive in the cave (102). The most realistic of these ghosts is his dead cousin Millwood, who appears “fully formed, three-dimensional, and in his uniform” with “both of his arms […] attached” (103). Although Clive is initially disturbed by this vision, the ghost of Millwood assures Clive that “all of the other millions of dead” killed in the Great War “had also survived. They were still alive. Whole. In their prime” (105). The appearance of Millwood’s ghost helps to assuage some of Clive’s grief, enabling him to open himself up to a new relationship with Helen.
Verble presents the ghost of Little Elk as a manifestation of the trauma of violence against Indigenous individuals and communities. When Little Elk is “transported back to his death tree” (152) for the first time, he witnesses a group of white men robbing Indigenous graves and “decide[s] he’[s] been sent back to stop the desecration of the graves” (159). Later, Little Elk protects Two Feathers from Jack, another white man hoping to “keep her as his own” (190). The fact that Little Elk is repeatedly drawn back from his afterlife to protect Indigenous people demonstrates the long-lasting trauma of violence against native communities and points to the ongoing Racial and Ethnic Tensions in 1920s America.
When Two Feathers Fell from the Sky features several animal characters whose interior lives and perspectives the novel takes seriously, underscoring the novel’s thematic interest in Communication Between Human and Non-Human Beings. Among the most important of these animals is Adam, a male buffalo who, like Two Feathers herself, is “on loan from the 101, the last Wild West show in existence” (10). The buffalo is a sacred animal for many Indigenous communities; Verble positions Adam as a symbol of the violence and discrimination against marginalized peoples in the early 20th century. American buffalo were once numerous in the United States, but as the Prologue notes, in the 18th and 19th centuries “buffalo […] and other species were on their way to worldwide extinction, and a few forward-looking people became convinced that locking animals up was better than slaughtering them by the millions” (xi). The Miller Brothers’ 101 Ranch, the Oklahoma-based Wild West show where Two works when not at Glendale, “was home to the largest herd left in existence” (38). The fact that Two frequently “acted with buffalo in shows” on the 101 Ranch reflects the connection between Indigenous communities and buffalo and suggests that white audiences exoticized both buffalo and Indigenous people as relics of the past.
Verble establishes Glendale Park, a zoo and amusement park built on top of “a dark dangerous tangle” (85) of caves system containing a collection of Indigenous American graves, as the primary setting of When Two Feathers Fell from the Sky. The caves beneath Glendale act as a symbol of white America’s attempts to erase and gloss over the darkest parts of American history. During the construction of Glendale Park, many Indigenous graves were desecrated: For park manager James Shackleford, “memories of dismantling the graves were some of his most common recollections” (32). The fact that Glendale—a park featuring both Indigenous performers and white performers pretending to be Indigenous—was built on top of “layers and layers of ancestors, elders, and ancient ones” (191) reflects the disregard for and erasure of Indigenous culture and history by colonizers.
However, the novel suggests that this history cannot be fully concealed. Verble implies that the collapsing sinkhole that injures Two Feathers is caused by a series of underground rivers that run “all through the caves” (86) before they “[pop] out in the springs in the park [and flow] into the creek below the rise that [holds] the zoo” (86). The presence of these rivers suggests that the most egregious wrongs of American history cannot ever be fully concealed.
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