Kiss of the Fur Queen

In Toronto, Gabriel encourages Jeremiah to design a piece of music Gabriel can choreograph. Jeremiah protests that his fingers are “gone, gone, gone” from inaction but (262), eager to make amends with his brother, consents and begins to practice.

Some time later, Gabriel is performing a piece, accompanied by Jeremiah’s strong and fluid playing. Gregory watches from the audience. Though Gabriel’s dance still captivates him, he is embittered by Gabriel’s promiscuous infidelity. Amanda Clear Sky is in the audience as well. Jeremiah plays frantically, knowing his relationship with Gabriel will suffer if he abandons music again. The piece is unusual in that it features Cree elements, with the dancers suddenly launching into the hunting chant “Ateek, ateek, astum, astum, yoah, ho-ho!” (267). The natural rhythm speaks to the audience, transporting them. Elated at the applause, Gabriel remembers his father’s advice to forge a new world with magical weapons.

In Toronto, Jeremiah’s new day job is to provide recreation and music to urban Indigenous children, most from conflict-ridden homes. Jeremiah tries to teach his six- to eight-year-old charges beats, songs, and stories they’ve heard since their infancy. His innocent students, especially a boy named Willie Joe Kayash, remind him of Gabriel as a young boy.