Quartermain’s background in poetry is evident in the novel’s lyricism. The imagery is vivid, especially where Hunter is concerned. The young man is capable of detecting nature metaphors all around him – even in the residential school. However, the novel’s reliance on interior monologue makes it difficult to follow the action, and leads to confusion over who is speaking in scenes featuring groups or flashbacks.

The contrast between Cora’s romanticized notion of natives and the reality of life on the reserve and in the residential school is an interesting way of exploring the novel’s milieu. If you can ignore the difficulties presented by the characters’ frequent stream-of-consciousness monologues, the picture Quartermain paints will stay with you for some time.