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The next morning, Nanabush sees that a huge number of raccoons defecated and urinated on his motorcycle. He calls out to the raccoons, saying he wants to end the feud. The chief raccoon makes many demands that the novel does not explain to readers, and Nanabush concedes.
Virgil and Wayne are determined to get Nanabush out of Otter Lake. When Virgil gets to school, Dakota is missing. Knowing she thinks she’s in love with Nanabush, Virgil decides that Dakota needs to be rescued just like his mom. He skips school and catches up with Wayne on his way to Sammy’s house. When Virgil tells Wayne he warned Dakota about Nanabush, Wayne calls him an idiot—this would only have pushed her to Nanabush: “Nobody likes to be told what to do and who they can be friends with” (286). In the woods outside Sammy’s, they see Nanabush pull up on a motorcycle with bags of junk food, from bacon to candy. Nanabush throws all the food out to the woods. Raccoons scurry around and disappear, seemingly having settled their score.
Wayne decides to confront Nanabush. He calls into the house telling Nanabush to come out. Nanabush emerges. Virgil and Wayne accuse the man who calls himself John of being Nanabush, which Nanabush does not deny. After a lengthy back and forth, Wayne takes off his shoes and socks and attacks Nanabush. Nanabush fights back, relishing the idea of having a good fight for the first time in years. The combatants climb into the trees. Virgil stands on the forest floor, looking up. Dakota appears, confused at the incident with the raccoons and at the fight. Virgil explains that John is Nanabush, but Dakota doesn’t know who that mythological figure is.
When the fight ends, Wayne gets down from the tree badly beaten. Virgil and Dakota decide to take Wayne to the clinic. They half carry, half drag him through the forest. Nanabush, who has been hiding on top of the house, comes down and gets on his motorcycle to go to the press conference. Sammy, who’s been watching the trees shake from the woods, believes it was the scene from the end of Shakespeare’s tragedy Macbeth, where soldiers disguised with tree branches from Burnham Wood approach Macbeth’s castle, fulfilling a prophecy.
At the press conference, Maggie speaks about the importance of the land to her band: One cannot own the land, but rather one belongs to the land. A reporter notices a human bone sticking out of the ground and screams. Other reporters quickly discover other human bones. As they crowd Maggie, the Member of Parliament quickly gets into her car and drives away, wishing Maggie luck and offering to give her a good deal on a Saturn.
As Maggie faces the media hounding her about why there are human bones on this Indigenous land, Nanabush roars up on his motorcycle, picks her up, and drives away. She is incredibly relieved and happy to see him. At her house, Nanabush confesses. Grinning ominously, he describes taking the bones from the museum and seeding them all around the 300 acres. As he gleefully adds that it will take a long time for people to discover all the bones he planted, Maggie learns that not only did he take bones from Indigenous peoples, but also ancient Egyptian and even Homo Erectus bones.
Maggie gets extremely angry. She punches Nanabush in the chest, knocking him down. When he gets up and tries to smooth things over, she kicks him in the groin and tells him he has 30 minutes to vacate the Reserve before she calls the police. Nanabush realizes that his plan has been a failure and rides away.
After Virgil and Dakota take Wayne to the clinic, Virgil walks into the woods by the railroad track and finds Nanabush lying on his rock: “He looked […] worn, beaten and exhausted” (323). Virgil is not sure he should be there alone with him, Nanabush is for the first time forthcoming and willing to talk. Nanabush explains that he was hurt by a member of Virgil’s family—though he doesn’t tell Virgil whether he means Maggie or Lillian. Virgil asks about the setting sun petroglyph in the rock—does it mean Nanabush was going to take his mother west, to the land of the dead? Nanabush explains that his intention was actually to take Maggie to the Setting Sun motel. Then, after rolling the big, flat rock over, Nanabush shows Virgil another set of petroglyphs that are thousands of years old—Nanabush put them there centuries ago. When Virgil asks what they mean, Nanabush deflects, saying he was bored and fooling around.
Nanabush knows it is time for him to leave Otter Lake and get out of Maggie’s life. Nanabush asks Virgil if he would like a ride home. Virgil, though reluctant, says yes: Since Dakota and Maggie have already ridden on the motorcycle, he should too. They take the back roads because Nanabush is afraid the police are looking for him. Virgil thoroughly enjoys the ride, saying he wants a motorcycle too.
Nanabush takes off his helmet and Virgil sees that he has transformed from the white John into an Indigenous man with flowing black hair and brown eyes—the face of Nanabush himself. Virgil warns that the road Nanabush wants to take is a dead end into the lake, but Nanabush answers that there are no dead ends, only people who find dead ends. Nanabush was worried there was no reason for him to exist, but now he realizes there is a whole new world out there.
Two weeks later, Maggie, Wayne, Virgil, and Dakota are eating supper at Maggie’s house. No one talks about Nanabush. Maggie has decided to live more simply—to accept whatever the day brings and quit trying to make everything right for everybody: “John, if nothing else, had taught her chaos was to be expected and nobody can really plan for it” (340). Wayne is recuperating from his fight with Nanabush. He is enjoying life on the mainland and feels ready to date—maybe the nurse who took care of him after he was injured. Dakota and Virgil practice Wayne’s new martial art; Wayne has been teaching them his skills, though Dakota is better at it than Virgil. Virgil finished his essay, though he remains unsure whether he’ll pass eighth grade. Dakota has been reading about Nanabush, trying to distinguish tales that she thinks are truly characteristic of him from those that are made up.
Seventeen years later, Michael, an aging member of the debate society, dies. For the last 17 years, he has proclaimed that he saw something incredible on Otter Lake: a motorcycle riding the waves, popping a wheelie, catching up and passing him, and then disappearing. Only three people in the village believed him.
The final section of the novel is laden with ironic reversals. No character’s plans work out as intended, yet, thanks to Nanabush and The Presence of the Divine in Everyday Life, each ends the novel in a more enlightened, grounded place. Maggie, who first defended Nanabush against his accusers, finally sees the instability, childishness, and whimsy that comprise his core being; she is the one who drives him out of the Reserve. However, some of Nanabush’s easygoing, pleasure-seeking nature rubs off on her—we get the sense that she will not wait another three years to look for love and desire. Virgil, who was dead set on trying to rid Otter Lake of Nanabush, receives wisdom and insight from the trickster—instruction that infuses nuance into Virgil’s adolescent understanding of the world. As a reward, he enjoys a ride on the demigod’s motorcycle—an experience of sensual joy and abandon that counterbalances his excessively responsible personality. Nanabush dispels some of Virgil’s seriousness, pointing out that the setting sun petroglyph is just a joke about motel sex, not a prophecy of doom; however, he also teaches Virgil to look past life’s dead ends for new possibilities.
Though Nanabush is a divine being, he is also as human—and as much a literary character—as anyone else in the novel. For his reason, he undergoes the kind of moral transformation that is typical of a literary protagonist and absolutely anathema to the Christian conception of Jesus as born without sin and thus in no need of moral improvement. The demigod undergoes several changes during his time at Otter Lake. The trickster, whose most defining quality is transience, hopes for a long, romantic relationship with Maggie—a wish that he does little to secure, instead impulsively sleeping with a woman in the city and then impetuously stealing bones from a museum to protect the new Reserve land. Although he fails to build a stable relationship with Maggie, Nanabush does experience a sudden burst of honesty. Having previously given only evasive, deflective, or untruthful information to the residents of Otter Lake, Nanabush has a series of honest conversations. After exploring theosophic connections with Jesus, Nanabush comes clean to Maggie, has a heart-to-heart with Virgil, and finally reveals his true face, transforming from the white, blonde-haired John into a black-haired Indigenous man. The white guise was another way for Nanabush to engage with The Politics of Religious Faith: a ruse to provoke, engage, and fire the Anishnawbe passions in the souls of his people—but after presenting himself as a figure of contempt, mixed feelings, and bitter memories, Nanabush reclaims himself just as he hopes his people reclaim their birthright.
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