65 pages • 2 hours read
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In a dark and dingy bar where Gar Face drinks in every night, he sits alone and hears the boasts of the other men who hunt in the forest. He pictures killing the Alligator King and how amazed the other men would be.
Ranger lovingly watches the kittens. He warns them to stay away from the Open, tells them stories, and sings a song for them every night. He promises to watch over them always.
The kittens’ mother begins to bring mice and small stakes, still alive, for the kittens to kill; she knows that they need to learn how to hunt.
Of all the snakes, the moccasin snake is the most dangerous. It has a mouth as white as cotton and jaws as strong as a trap.
The kittens see Gar Face shoot a rat. It’s a good reminder to stay out of the way of his gun—and to escape his detection by staying in the safety of the Underneath.
The beasts of enchantment can only don their human forms once. Grandmother knew this—but Night Song didn’t.
Puck, curious, wanders out of the Underneath into the open. He lies in the sun, loving how it feels on his tummy. He runs back to tell Sabine about the wonders of the Open but runs straight into Gar Face’s “terrible” hands.
The mother cat wakes up suddenly. She runs to the edge of the Underneath, and sees her son being held by Gar Face. She runs to help, but Gar Face grabs her as well.
Gar Face put both the bags in a sack, tied it up, and threw them in the bed of his truck. Ranger strained at his chain, howling. Eventually, his howls grow faint as Gar Face starts the truck and drives the cat and Puck away.
The truck stops. The cat hears water.
An illustration shows a man (Gar Face) holding a kitten (Puck) by the scruff, as Ranger barks at the end of his chain. In the foreground, a larger cat (Puck’s mother) crouches.
Puck is remorseful for going into the Open, but his mother insists that she shouldn’t have kept them in such a dangerous place. Sensing that she’s going to die, the cat tells her son to go back and find Sabine, his sister, and get away from Gar Face. She tells him that he must also break Ranger’s chain. Her words are cut off as the sack they’re in is thrown.
They land in the water. Puck’s mother tells him to swim. The sack starts to sink as the mother cat claws at the opening. Puck feels a push from behind; the sack comes open. He swims, sensing his mother urging him on. He doesn’t see a string of the sack wrap around her paw and hold her underwater, caught in mussel beds at the bottom of the creek.
The mother cat’s lungs fill with water. A voice comes to her, saying, “[S]ister, your baby is safe” (80). The voice takes the form of a hummingbird, which urges the cat to follow it. She regrets leaving her babies and Ranger—and regrets the huge burden she has placed on Puck.
The trees know that the hummingbird can fly between the land of the living and the dead. The hummingbird is looking for someone—someone she has been searching for a long time.
The people known as the Caddo used to live in the woods. The trees remember them; they crossed the Gulf of Mexico from South America and settled there. They learned how to live on the land. They lived on Little Sorrowful Creek, which is fed from a deep and ancient hole below the forest. The water that comes from this hole is salty; it’s said to be filled with tears. Puck contributes more tears to the creek when he sees that his mother isn’t behind him.
Below him, Grandmother reflects that she knows what losing someone is like. She reflects on the price to be paid for her loss.
Sabine longs for her mother and brother, and she longs to make Ranger, who is devastated, feel better. She realizes that she must become the hunter and vows to leave the Underneath when it gets dark.
Grandmother Moccasin should have known about Hawk Man, who heard the singing of Night Song and who heard the Caddo singing. She should have known about him—but she didn’t.
Puck listens for his mama, his sister, and Ranger, but all he hears is loss and the running of the creek. Grandmother stews in her jar, also contemplating loss.
A thousand years ago, Hawk Man found the source of the beautiful music he had been hearing: Night Song. He watched her and marveled at her shimmery, blue-black scales. He became smitten with Night Song’s beauty. The other birds warned him to fly away, but he didn’t. He called into the night, expressing his longing for Night Song.
Night Song, no longer a snakelet, began to feel restless. She and her mother had always been inseparable, but after a time the forest felt small to her, and her mother’s stories felt monotonous.
Night Song began to slip away when her mother slept. One day, Night Song saw the handsome Hawk Man flying in the afternoon sun.
Alone in her dungeon, Grandmother reflects on Night Song’s betrayal.
When Hawk Man embraced Night Song, both took on human forms, and they left together. The watchful trees knew that Grandmother Moccasin would be angry and upset when she awoke. They stirred up the Zephyrs of Sleep to help the lovers slip away.
An illustration depicts a large snake, Grandmother Moccasin, dozing in a tree, while beneath, a human man and woman, embracing, walk away.
Puck briefly wonders if his mother was swept further downstream, but then he confronts the fact that he knows: He’ll never see her again. Puck finds a hollow in some tree roots and curls up in it, remembering his mother’s advice to stay in the Underneath and how he broke this rule. Puck misses his mother; far below him, Grandmother misses Night Song.
Grandmother Moccasin became angry and vengeful. Poison filled her mouth and she vowed to enact revenge on Hawk Man for taking Night Song from her. Her hunger was spurred by her anger; she hunted day and night and became enormous. The Alligator King urged her to find a way that wasn’t hatred, but she could not.
Sabine recalls seeing her brother leave the Underneath and lie in the sun. Just as she was about to call out to him, Gar Face grabbed him. Sabine remembers the heartbreaking way Ranger strained against his chain so hard that his fur was rubbed away and his neck was bleeding. Sabine reflects that she and Ranger must escape.
Puck is hungry and dirty. He tries to clean himself but is caked in river mud. He wishes he had paid more attention when their mother was teaching them how to hunt, as Sabine had. He has the hiccups and reflects that this makes it hard to sneak up on anything.
Hawk Man and Night Song traveled far and wide to find a place to settle, but they longed to find company among other humans. They returned to the forest and joined the Caddo, who welcomed them. Hawk Man and Night Song built a hut of branches and mud.
These chapters continuing exploring one of the novel’s main themes: The Mystery and Power of the Forest. Gar Face navigates through winding, heavily treed roads to the pub; the author emphasizes the forest’s denseness: “There are no maps of this forest, so thick are the woods, too thick for any cartographer to measure or survey” (64). The thickness of the forest keeps most people away while disguising and containing the forest’s secrets—which are kept by the trees, personified as “watchful,” rather than by the records of people: “It’s the trees who keep the legends” (99, 82). The trees occasionally intervene in the actions of those living in the forest, such as when they use “their own ancient magic to stir up the Zephyrs of Sleep” to let Hawk Man and Night Song slip away together (99). The trees do so because they “know love for the rare wonder of it, so they are champions of it and do whatever they can to help it along its way” (99). The trees have the power to not only watch but to make decisions and occasionally intervene. They’re characterized as not only powerful but also inherently good because of their choice to prioritize and protect love above all things. The trees’ intervention further emphasizes the forest as a place of mystery and power.
Another way the narrative communicates the forest’s inherent power is through the sinister and mysterious animals who live there, such as the 100-foot Alligator King and Grandmother Moccasin. Both of these animals are mythical in their proportions and ages; each has lived for more than 1,000 years. Grandmother Moccasin, “whose blood is both human and reptile,” has “lethal jaws, like scissors,” which “snapped her prey in half” (63). In addition to being immeasurably powerful, Grandmother Moccasin can express intense fury, as she does upon her daughter’s departure: “After Hawk Man and Night Song slipped away, Grandmother Moccasin wrapped herself in a cloak of hatred, wrapped it so tightly around herself that eventually that was all she knew” (103). Her increasing power and mass symbolizes her growing vitriol and anger at Night Song’s betrayal and departure: “And as her anger grew, so too did she, long and thick, her body as big around as a tree’s trunk” (104). Sinisterly, the jar which Grandmother Moccasin is contained in is wrapped in “dying roots”; their grip on the jar is loosening, foreshadowing her return to the forest (112).
Another of the book’s main themes, The Importance of Family, is evident in these chapters as Ranger watches over Puck and Sabine lovingly and protectively, illustrating his role as their devoted caregiver: “Ranger watched the kittens. Here they were, his Puck, his Sabine” (66). The kittens are “his” by virtue of how much he loves them; although he isn’t their biological father, he becomes a father to them in every important way. Appelt suggests that family isn’t necessarily dictated by blood; family can be the people whom we choose to love and care for, and those who love and care for us in return.
Devastatingly, Puck and the calico cat are abruptly wrenched from Ranger’s life. Appelt intentionally highlights Ranger’s love of the cats to further elucidate his absolute devastation when they’re taken from him: “[Sabine] watched Ranger tug against his chain and howl as if his heart was breaking; his heart was breaking, she knew” (108). This anecdote further explores the theme of Cruelty to Animals too, mainly through Gar Face’s despicable treatment of both wild and domestic animals. Once again, the trees’ power as ancient and morally righteous watchers is evident in their assessment of Gar Face: “What do you call someone who throws a mother cat and her kitten into a creek, who steals them from the hound who loves them, a hound twisting at his chain wailing, who never even looks back, what do you call someone like that? The trees have a word: evil” (85).
Emphasizing Gar Face’s appalling cruelty in drowning the cats is his “laughter ringing through the morning” as he stuffs them in the burlap bag; he clearly takes joy in this action (74). The book describes his laughter as “hard and cruel” (74). The death of the calico cat, who drowns when her paw becomes tangled in the string of the bag, further positions Gar Face as a sinister antagonist, as do his actions toward Ranger upon returning home: “‘Stupid dog!’ he shouted. ‘What good is a dog who can’t even keep a cat out of the yard?’ Ranger felt the steel toe of the boot grind into his side” (86). The story elicits further sympathy for Ranger when he lies beneath the house with “tears splash[ing] onto his silky ears” (86). Sabine’s role as Ranger’s only remaining family member is clear when she licks up his tears and snuggles beside him, trying to comfort him.
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