Wayne Johnson

From multiple Pulitzer Prize-nominated author; following Buck, a man fighting for his life, & Lucy, a semi-feral girl, living on the border of Shakopee Mdewakanton Sioux Community reservation as tragedy and trauma unite the two. Buck, government name Michael Fineday, Ojibwe name Miskwa' doden (Red Deer) is on the brink of suicide. He has just been served divorce papers by his wife Naomi, who is fed up with his savior complex and the danger it often attracts to their door. Living on the border of Shakopee Mdewakanton Sioux Community reservation, Buck makes a living as a boatbuilder and carpenter. He spends his days alone, trying to win the trust of a feral cat... until a semi-feral girl shows up, fascinated by the canoe Buck is building. Lucy, Ojibwe name Gage' bineh, (Everlasting Bird), lives in a trailer alone with her father, a local policeman struggling with PTSD which is compounded by the loss of Lucy's mother. Just barely fifteen she has lived with a lifetime of abuse, while knowing that if she ever spoke out, her father would bear the consequences. Buck senses Lucy is in trouble and doesn't hesitate to come to her defense. On the foundation of their shared Ojibwe heritage, they trace Lucy's abuse to a ring that extends farther than either of them ever imagined, while building a bond even sturdier than Buck's canoe.

In this gripping prequel to The Red Canoe, Buck navigates family, trauma and star-crossed romance in his search to track down his wayward brother. In this prequel to 2022's The Red Canoe, Buck, aka Michael Fineday, aka Red Deer is on his way to track down his wayward brother in the Twin Cities, when he's trapped in a snowstorm and rescued by Sally, a girl who is fighting her own demons. Though intrigued by Sally, most of Buck's time is spent trying to unravel his family's involvement with an elaborate racket which has recently gotten his cousin Ruben and his half-brother Bear killed. Eli, Buck's surviving brother, is up to his neck in the racket that involves insurance fraud and stolen vehicles, and unwilling to tell Buck the truth. The racketeer's kingpin thinks Eli has something they want - which is both his death warrant and his salvation. The problem is, Eli doesn't know exactly what the something is or how to find it; his only clue is a phrase in Anishinaabe language Ruben scrawled on the wall of his room before he was killed, and it's up to Buck to track it down. Meanwhile, Sally and Buck grow closer through the shared wounds of their difficult pasts; and Buck teaches her some Ashinaabe language and cultural practices. Strangely, all roads - both Sally's and Buck's - lead to the Witch Tree, an important spiritual reservoir in Native American religion, and where he is forced to face the many facets of his own identity and find a way for them both to heal.

This book considers the presence of the supernatural and Gothic elements of the Western on screen. These dark and sinister undertones often exist in Western narratives to draw attention to the ever-present issue of death and its haunting resonance which characters encounter. This book examines this through key historic moments in Western film and its contemporary incarnations. The book detects imposing correlations in themes and currents between the Gothic and the Western relating to existential crisis and a loss of faith in ideologies and  institutions. These themes represent the tensions between the old and the new, the deranged insistence on civility and order in a chaotic landscape, disillusionment and the shattering of faith in the natural order, and even nature  and order themselves. The Western, just like the Gothic tale, reminds us that new frontiers are mired in the past, and optimism and survival are hunted down and haunted by guilt-ridden past and passed anxieties and traumas