Even As We Breathe

Three motifs from nature that the author uses throughout the narrative are smoke, fire, and water. Each of these relates to Cowney’s experiences, challenges, and growth.

Smoke, the result of forest fires started not by nature but intentionally by humans, pervades much of the narrative. Clapsaddle depicts noxious clouds of smoke that prevent outdoor activities, disrupt worship services, and drive the essential tourist trade away from Cherokee. The smoke starts near Cherokee but, as the fire grows and drifts, eventually the smoke becomes an issue at the inn as well. Whenever smoke is present, Cowney experiences uncertainty in the storyline. Smoke first arises after Cowney hears again the unsettling story of his father’s death and recognizes there are parts of the story his grandmother does not share. Smoke appears around the inn after Cowney discovers Essie while she kisses Andrea. The smoke is at its worst when Cowney is alone in his cabin after Lishie’s death. Torn between Lee’s request that he return to the inn and the real possibility of his arrest for the abduction of the missing child, Cowney cannot decide what to do. In his moment of greatest uncertainty, the smoke nearly overwhelms him. Once Cowney steps forward decisively, the overwhelming uncertainty disappears from his life, and smoke disappears from the storyline as well.

Cowney encounters fire twice, in both cases while in conflict with Bud. First, Bud tells Cowney to drive him to the fire line, where Bud produces a shotgun and proceeds to shoot animals attempting to flee the flames. At the same time, Bud asks Cowney to speak to the Japanese diplomats at the inn and offer animal parts for sale—something that would result in Cowney’s termination. Cowney is aghast at his uncle’s practice of shooting desperate animals and shocked at his request to put his job in jeopardy. Second, running from his cabin as the flames approach, Cowney sees the fire leaping from one treetop to another and thinks he is about to die. Bud suddenly appears in his truck to rescue him. As they drive away, Cowney realizes Bud is the person starting the fires. He forces the truck to the side of the road and confronts his uncle about this treachery. Whenever Cowney encounters fire, there is hostile confrontation with his uncle, and Cowney takes another step away from his uncle’s dominance.

Water appears in many forms throughout the narrative. In virtually every instance, water serves as goodness, respite, and healing for Cowney. Water saves Cowney’s life in Chapter 2 when Bud foolishly unleashes a large number of cut logs into the river, expecting Cowney to be able to stop them. It is only by diving beneath the flow of timber, pushed by the current of the river, that Cowney escapes. Rain, a second water image, sets in for days at the inn, allowing Cowney and Essie to spend long evenings enjoying the safe harbor of their secret room. Cowney notes that the rain, which enables his deepening relationship with Essie, is absent from Cherokee. Thus, the beauty and growth not available at his home happen for him in abundance at the inn.

Finally, the most important use of the water motif begins in Chapter 13 when, deep in the woods, Cowney happens upon a 25-foot waterfall abutted by a clear pool of water. Throughout the remainder of the narrative, he returns to the waterfall when troubles weigh him down. He takes Essie to the pool when his grandmother dies and his relationship with Essie falters. On one occasion, Cowney watches an injured bear emerge from the water, seemingly healed. When Lishie passes away and Essie appears to have divided loyalties, Cowney goes to the water for renewal.

The author mentions that a prominent Cherokee group prior to Removal was the Bear Band. Accordingly, bears appear at a couple of pivotal moments. As Lishie and Cowney ride to church, they nearly strike a mother bear standing in the middle of the road. The mother bear and her offspring are akin to Lishie and Cowney, who will soon be separated by Lishie’s death. The protectiveness of the mother bear mirrors the protection and care Lishie has always shown towards Cowney.

In the second instance, Cowney sees the wounded black bear wade into the waterfall pool and emerge healed. Cowney recognizes not only himself, but also the Cherokee nation, in this bear: its healing through nature reflects the healing and positive changes Cowney himself will soon undergo, suggesting hope for both himself and his people.