44 pages • 1 hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The journey for which this novel is named occurs in northwest Ontario. The area is a gorgeous wilderness dotted with abandoned mines, undiscovered trails, and a few farms and towns that are located far away from one another. The main industries in the area are pulp and paper, and prospectors work the mines. Indians, hunters, and pioneers also roam the territory—but the area is truly the domain of wild animals.
Winter, and its generous snow, takes up almost half of the calendar year in the region, keeping temperatures well below zero throughout what is traditionally thought of as spring. Then there is:
a sudden short burst of summer where everything grows with wild abandon; and as suddenly it is the fall again. To many who live there, fall is the burnished crown of the year, with the crisp sunny days and exhilarating air of the Northland; with clear blue skies, and drifting leaves, and, as far as the eye can see, the endless panorama of glorious rich flaming color in the turning trees (2).
The narrator tells us these things in order to introduce us to “the country over which the three travelers passed, and it was in the fall that they traveled, in the days of Indian summer” (2-3). This gives the sense that something is coming to a close and danger is on the horizon.
The narrator then introduces John Longridge, a man who occasionally lives on the outskirts of one of the small towns in the area—in “an old stone house that [has] been in his family for several generations” (3). He is a professional writer in his forties. He is unmarried and has written several historical biographies. Most of his time is spent traveling and researching for his work, but the stone house is one of his regular outposts, which he uses to complete his writing. During these periods, a middle-aged couple who lives in a cottage half a mile away—the Oakes—see to his domestic needs.
It is the night before the incredible journey begins. Longridge is about to depart on a hunting trip. A svelte, wheat-colored Siamese cat, named Tao, sits on Longridge’s knee. An aged white English bull terrier, Bodger, is curled at Longridge’s feet. Another dog, whose alert eyes and manner contrast with the other two animals, lays by the door. He is a red-gold Labrador retriever named Luath. When Longridge opens a cupboard in order to look at the hunting guns that are stored within, and retrieves a handsome, engraved double-barreled gun, Luath stirs with anticipation. The dog is let down when Longridge replaces the gun.
Mrs. Oakes calls. Although the connection is unstable, she and Longridge discuss his planned departure the next morning. He tells her that he will be departing at 7am the following morning. They try to discuss the animals, with Mrs. Oakes telling him that she will be bringing bone marrow as a treat for Bodger, but the line goes dead. Longridge turns and sees that Bodger has taken his place upon the armchair, and good-naturedly calls him a very bad dog. Bodger makes a facial expression that is a “parody of sorrow,” and Longridge laughs (8).
The three animals and man then undertake a routine that they do nightly. Longridge retires to the porch to smoke his pipe while the three animals trot into the forest for a jaunt that takes at least half an hour.
Longridge considered boarding Tao, Luath, and Bodger during his time away, but Mrs. Oakes has insisted that she would take care of the three animals, whom she loves very much. After Longridge is finished packing, he writes a note to Mrs. Oakes. The note says:
Dear Mrs. Oakes [...] Please order some more coffee and replace the canned food I’ve taken. I will be taking the dogs (and Tao too, of course!)...Here he came to the end of the small square of paper, and taking another piece he continued:...out for a run before I leave, and will give them something to eat, so don’t let our greedy white friend tell you he is starving! Don’t worry yourselves too much over them—I know they will be fine (10).
Longridge muses about Mrs. Oakes’s special affection for Bodger, as well as Tao’s ability to open all the doors in the house. He then feels a tinge of guilt at leaving the animals. The animals have come under his care through his friend and colleague James Hunter, an English professor at a university located 250 miles away. The animals belong to James and his family: his wife, his nine-year-old daughter Elizabeth, and eleven-year-old son Peter. Longridge is so close to the family that he is the children’s godfather. When James Hunter received word that a guest lectureship would mean a nine-month stay in England for his family, Longridge stepped in to care for the animals lest they be boarded. Longridge felt empathy for the children and their grief at being separated from their beloved pets: his own lonely childhood had been graced by a cocker spaniel and he therefore intimately understands the comfort that pets can bring.
Elizabeth is the guardian of the cat, with whom she shares a loving bond. Bodger had come into the family on Peter’s first birthday as a puppy, and is rightfully his dog—in fact, Peter “could not remember a day of his life when Bodger had not been part of it” (12). Luath belongs, “in every sense of the word, heart and soul to [Peter and Elizabeth’s] father, who had trained him since puppyhood for hunting” (12).
After a few days, the animals settled in with Longridge, but it also became very obvious that Bodger missed the children terribly. Bodger began wandering off on some afternoons, and Longridge soon discovered that the dog was journeying to the playground of a nearby school. Bodger avoided the main road because of his poor vision, but he found a route through the fields and would time his arrival to coincide with recess. He was very popular with the children.
While Bodger enjoys a warm rapport with Longridge, Luath “never [stops] pining for his own home and master; although he [eats] well and his coat [is] glossy with health, he never [maintains] anything but a dignified, unyielding distance” (14). It seems to Longridge that Luath is eternally alert and yearning for something beyond his current lodging.
Longridge falls asleep, and the moon shines into the window. Its beams wake Tao, who jumps onto the windowsill to look upon it. Tao then jumps onto the desk and knocks the paperweight that was securing Longridge’s letter to Mrs. Oakes. The second page of the letter drifts across the room and into the fireplace. It burns until only the signature remains legible. Luath also stirs from his sleep and waits in vain to hear the whistle of his master. Bodger lies curled in Longridge’s bed, sleeping peacefully.
Longridge awakens the next morning and lets the animals outside for their morning jaunt. He finishes his packing and then the animals return. He pats each of them on the head and bids them farewell, telling them to be good for Mrs. Oakes. He also tells Luath that he wishes he could bring him along on his trip—but there won’t be room in the canoe for him. Luath surprises Longridge by lifting his paw and looking him firmly in the eyes. Longridge has seen Luath behave in such a manner with his own master many times and is surprised and moved by the dog’s gesture of trust—his first one ever toward Longridge. Longridge then departs. He feels bemused when he half-expects the animals to wave back to him as he backs out of the driveway. “I’m becoming far too attached to them,” he thinks to himself (19).
Twenty minutes later, Luath suddenly rises and fixes his eyes on the pathway beyond the driveway. Bodger soon joins him, followed quickly by Tao. Bodger looks longingly back at the house—as if imagining Mrs. Oakes waiting there with a succulent bone—but he follows Luath when Luath begins walking down the road. Tao hesitates for a moment before joining her canine friends. Then, the three animals begin a pilgrimage down the road.
Mrs. Oakes arrives an hour later. She carries her housekeeping supplies as well as treats for the animals but is puzzled and disappointed to find the house empty. She begins to do her housekeeping duties, and soon spots the first page of Longridge’s letter beneath the paperweight on his desk. The end of the page reads “I’ll be taking the dogs (and Tao too, of course!)” (21). Mrs. Oakes searches for the second page of the letter and finds only its burned remainder, bearing Longridge’s signature, in the fireplace. She concludes that Longridge must have taken all three animals with him to Heron Lake. She muses that Tao, unlike many other cats, is fond of the car, trained to go on walks, and responds to the sound of a summoning whistle. This makes the prospect of the cat’s presence on Longridge’s trip more plausible. However, in truth, the animals are “by now many miles away on a deserted country road that [runs] westward” (22).
The three animals fall into a natural formation—with Luath always by Bodger’s left side—due to the elder dog’s nearly-blind left eye—and Tao trailing the dogs as various items along the trail pique his curiosity. Luath soon guides them all to a creek when he notices Bodger’s energy waning—and Bodger drinks thirstily. Then, they journey on, using the grassy border of the country road, throughout the afternoon. At sunset, Bodger is clearly tired. Although the younger animals are still able to continue, they find a small clearing that is suitable for rest. By the time night falls, both of the younger animals have cuddled up to Bodger, who then comfortably falls asleep.
Wild animals carry on with their lives and noises nearby: a wolf howls in the hills while owls hoot and fly above them. A porcupine’s high-pitched cry awakens Bodger in the middle of the night, while Luath sleeps fitfully—poised to rise and defend himself and his companions. He even rouses once in the night and lets out a loud roar, which is followed by the splashing of an unidentified, startled animal into the creek. Luath is resolute about his purpose: “he [is] going home, home to his own beloved master. Home lay to the west, his instinct told him; but he could not leave the other two—so somehow he must take them with him, all the way” (26).
This section opens the novel’s narrative structure. It provides the inciting incident, which is the Hunter family’s trip to England. Significantly, it is the animals’ separation from their human family that provides the impetus for the entire narrative. This is thematically important because it foregrounds the love and loyalty that the animals have for their human family as their ultimate motivation. The fact that the humans are merely on a trip, and will eventually return to their lives and pets, also poignantly highlights the animals’ limited understanding of the world. Longridge assumes the animals have sentiency to now he will be back and that someone will take care of them in his absence, but the animals don’t actually comprehend.
In their perspective, their humans are their entire world—and, in the absence of their ability to use language, it is impossible for anyone to communicate to them that their separation from their human family will be temporary. It is the combination of their intimate emotional involvement with their human masters and their limited understanding of the comings and goings of humans that coalesce in order to create the tension that animates the forward motion of the plot. This is a particularly salient concept for a children’s book: it provides a concrete illustration of both the connectedness and separation from humanity that is instantiated by domestic animal companions. Burnford’s depiction of the animals in this section can therefore provide a concrete hallmark case study whereby children can be taught to respect pets both for their ability to contribute lovingly to human life and for the ways that domestic animals’ understanding of the world differs from that of humans.
This section also introduces some other key themes and writing conventions that will be developed throughout the course of the narrative. For one, the narrator does not refer to the animals by the names given to them by the humans. In this section of the book, the narrator also allows each animals’ distinct characteristics to manifest through their actions, and detailed exposition about those actions. This means that the animals are seen primarily through human eyes. The readers are presented with depictions of the animal’s actions and can surmise the varying degrees of each of their levels of fondness for Longridge through those depictions. For example, this section of the novel sees Bodger bullishly insisting on sleeping in Longridge’s bed, and Tao lounging comfortably in the man’s lap, but maintaining a radius of personal space and independence as a general rule.
Longridge is later surprised by the more-aloof Luath’s earnest and direct farewell—the first real overture that the dog has made. Through these depictions, we can see that Bodger is the most at home with Longridge, followed by Tao, and then by Luath. These characteristics speak to each animal’s individual character, which will be further developed throughout the course of the novel. Together, on the level of thematic construction, these conventions also articulate the animals as straddling the line between the human and wild realms. Their interiority remains mostly opaque, while their domestication shines forth in their cohabitation and general comfort with Longridge. Through the opacity of their inner thoughts, their separation from the human world is highlighted. The ways that they unmistakably communicate with or express affection for or comfort with Longridge also show the reality of their domestication: they are animals bred to be in the company of humans.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features: