People of the Whale

“But place or time or season, it doesn’t matter to the man who turns his back to the sea. No one knows if he will turn toward life again. They wonder if it is hate he feels, or remorse, or merely human grief. After a while, some forget he is over there.”

The opening phrase “But place or time or season, it doesn’t matter” employs asyndeton, the omission of conjunctions between parts of a sentence. This device creates a sense of simplicity and directness, emphasizing the universality and timelessness of the man’s disconnection from his surroundings. This disconnection is further symbolized by the man turning his back to the sea, an action loaded with significance in a culture tied to the ocean. The sea traditionally symbolizes life, continuity, and sometimes the subconscious, so turning away from it suggests a rejection or disconnection from these fundamental aspects.

“The octopus, by accepting the Smiths’ gold ring, Witka’s pearl, gems, the pieces of silver, even a pair of glasses, knew it was loved by them and it would help them as it went back under the sea and stayed there, maybe giving them good fishing or good deer hunting, whaling money, love medicine, all things desperately wanted by humans and shifting in their value day by day, moment by moment, depending on their needs.”

The octopus’s acceptance of the various offerings is symbolic. Each item represents different aspects of human life and values, ranging from love (the gold ring) and heritage (Witka’s pearl) to material wealth (pieces of silver) and vision (a pair of glasses). The phrase “knew it was loved by them and it would help them” personifies the octopus, attributing understanding and agency to the creature. The list of what the octopus might provide uses synecdoche, where a part represents the whole. This list encapsulates the entirety of human desires and needs, ranging from basic survival (fishing, hunting) to more abstract concepts (love, financial stability). The fluctuating nature of these desires suggests the impermanence and subjectivity of value, where what is important at one moment may not hold the same weight at another.

“All this was in the days when the women would sing the whales toward them.”

The act of women singing to the whales symbolizes a harmonious relationship between humans and the natural world. Singing here is not merely a physical act; it represents communication and respect, suggesting a spiritual bond and understanding between humans and these creatures of the sea. This phrase also alludes to a time that is past, indicated by “in the days when,” which implies a shift from those traditional practices. This allusion serves as a subtle commentary on the loss of cultural heritage and the distancing from ancestral ways of life.

“During the daylight hours he travels, without wanting to, the inside passage of his own self, a human labyrinth of memory, history, and the people that came before him.”

The phrase “the inside passage of his own self” is a metaphor comparing the protagonist’s introspective journey to a navigable passage. This metaphor suggests a deep and possibly complex exploration of his inner world, much like a journey through a physical passage or labyrinth. The use of “inside passage” not only conveys the idea of an internal journey but also possibly alludes to the geographical feature found in the Pacific Northwest known as the Inside Passage, adding a layer of regional specificity to the metaphor.

Now, at night, she pulled her dreams and memories into a net like a school of silver fish.”

The metaphor “pulled her dreams and memories into a net” compares the act of gathering and sorting through thoughts to the action of fishing. This metaphor suggests a careful, deliberate process that requires skill and patience, much like fishing. It implies that the character is actively engaging with her internal world, trying to make sense of her thoughts and experiences. The simile “like a school of silver fish” extends this metaphor by comparing the dreams and memories themselves to a school of fish. This imagery conveys the idea of abundance and fluidity, as schools of fish are numerous and move in unison in water.

“She had teased him about his ancestors coming from China across the Bering Strait even though the people knew they had come from the caves out in the ocean, come out on strands of seaweed, some carried, with their stories in their arms and on their backs or carried on the fins of the water animals, and the story of the whale, their ancestor, was one of these.”

The allusion to the Bering Strait migration theory, a scientific hypothesis about the migration of peoples from Asia to the Americas, is juxtaposed with the tribe’s own origin story. This contrast highlights the difference between scientific explanations of human history and the narratives found in Indigenous oral traditions, emphasizing The Significance of Mythology and Spirituality within this culture. The tribe’s belief that they emerged from the ocean, carried by the elements of nature, also functions as a metaphor for their spiritual and physical connection to the natural world.

“Thomas didn’t call. He was a lie. His cells were all lies and his being was made up of lies. Lies couldn’t call out the way truth does. They feared discovery.”

The metaphor of lies encapsulates Thomas’s sense of self, suggesting a deep-seated sense of inauthenticity and guilt. By describing his cells and being as “made up of lies,” the narrative goes beyond the surface level of actions or words, suggesting that his very essence is intertwined with falsehood. Additionally, the personification of lies as entities that “fear[] discovery” gives them a quasi-human quality, capable of fear and agency, suggesting that the untruths that Thomas carries are active parts of his psyche, influencing his actions and thoughts.

“Nevertheless, Dwight harbored within himself a great and monetary and maybe even a violent need and so he had helped convince most of the men that they wanted to kill a whale in order to fill their hearts and souls with the wealth of something they wrongly believed had been lost and wanted back. Tradition, they called it.”

Hogan uses irony and metaphor to critique the misappropriation of tradition for personal gain and the distortion of cultural values. The irony lies in the fact that the hunt, supposedly for reviving tradition, is actually driven by greed and possibly aggression, highlighting the dissonance between professed intentions and actual motivations. Rather than serving Environmental Stewardship and Responsibility, the hunt is serving the egos and wallets of the few driving it forward. The use of “wealth” in this context is metaphorical, referring not to material riches but to a sense of fulfillment or identity that the men believe they can regain through the act of whaling. The implication is that the label of “tradition” is being misused or misapplied, serving as a facade for underlying, less noble intentions.

“He could sing, pray, swim, canoe, fish, bring in wood, survive alone if he had to, but he couldn’t stitch together the truths of divided worlds, double people, let alone the factions and jealousies within his own tribe, especially when the jealousy was directed at him. Nor did Thomas know the doubleness that existed here, in his own place. He knew only his own.”

Antithesis is used to emphasize the contrast between Marco’s physical skills and his inability to reconcile the multifaceted aspects of his identity and community. His proficiency in traditional skills like singing, praying, swimming, canoeing, fishing, and survival are contrasted with his struggle to “stitch together the truths of divided worlds, double people.” This antithesis highlights the dichotomy between physical adeptness and emotional or psychological challenges.

“He was remembering the past. He was moving into Witka’s old house up on the black rock. He was building yet another wall.”

The use of anaphora is evident in the repeated structure of “He was.” This repetition creates a rhythmic cadence that emphasizes the continuity of Thomas’s actions and reflections, highlighting his persistent efforts to grapple with his past. The act of “moving into Witka’s old house up on the black rock” is symbolic. Witka’s house represents a connection to Thomas’s heritage and ancestral lineage, while its location on the black rock may symbolize a foundation built on something solid yet somber or challenging. Finally, “building yet another wall” is a powerful metaphor for self-imposed isolation and the barriers Thomas creates between himself and the world, including his community and past.

“‘Mark my words. There’s going to be a drought. A wrong thing was done. Maybe more than one wrong thing. There will be a drought,’ the old man warned Ruth. ‘Get ready for it. N’a sina.’”

This quote utilizes foreshadowing to create a sense of impending consequence and tension. The old man’s warning to Ruth, “There’s going to be a drought,” directly foreshadows a significant challenge the community will face. This prediction sets the stage for future narrative developments, indicating a shift in the story’s direction. Additionally, the use of the phrase “N’a sina” can be categorized as a colloquialism. Using a phrase from an Indigenous language as a colloquialism adds realism to the characters and setting and highlights the linguistic diversity and culture of the Native American community portrayed in the novel.

“He recalls the whale. It was beautiful in its way, gray barnacles on it, sea lice, as if it supported an entire planet. He remembers how it breathed and he didn’t pray except for under his breath, and Marco, too, both of them so secret in their prayers.”

The use of asyndeton is present in the listing of the whale’s features (“gray barnacles on it, sea lice”) and in the actions of the characters (“He remembers how it breathed and he didn’t pray except for under his breath, and Marco, too, both of them so secret in their prayers”). Hogan does not use conjunctions to connect these elements. The description of the whale is also an example of imagery; it paints a detailed picture of the whale, emphasizing its majesty and the intricate ecosystem it supports. This imagery evokes a sense of awe and reverence, highlighting the whale’s beauty and significance in the natural world.

“And Thomas doesn’t know how she weeps for hours alone, how when she fishes and empties the nets or repairs them or turns the winch on the Marco Polo, she wishes that she, too, could turn her back on water, close herself in, except at night when it is peaceful and the sea shines in the moonlight, compelling.”

The long, uninterrupted sentence mirrors the relentless, unceasing nature of Ruth’s emotional and physical experiences. It reflects the stream of consciousness of her thoughts and feelings, as well as the unending nature of her daily tasks and responsibilities. Ruth’s inner turmoil and longing for emotional isolation (“turn her back on water, close herself in”) are contrasted with the peace and beauty she finds in the sea at night (“peaceful and the sea shines in the moonlight, compelling”). This juxtaposition highlights the complexity of her relationship with the sea, which is both a source of pain and solace. While Ruth desires to turn her back on the water, her life and livelihood are inextricably tied to it, creating an ironic situation where her source of pain is also her source of sustenance and moments of peace.

“Remembering, in Spanish, means to pass something through the heart again, and now all the years are going through his heart again as he tries to turn away from the ocean.”

The character’s attempt to turn away from the ocean while undergoing this process of remembering symbolizes a struggle against overwhelming emotions. The ocean, often a metaphor for the vastness and depth of human emotions, represents the character’s internal turmoil and the vast sea of memories he confronts. The literary device of etymology, the study of the origin of words and how their meanings have changed over time, is employed here to provide a more particular understanding of the concept of memory. By drawing attention to the Spanish meaning of “remembering,” the narrative emphasizes the impact of past events on the character’s present emotional state.

“While at first Thomas wishes he could remain forever, that he could drown, instead he begins to see the beauty of the water, the thickness of life.”

This sentence takes a turn with the word “instead,” signaling a shift in Thomas’s perception. This antithesis is crucial, as it marks the beginning of Thomas’s transformation from a state of despair to one of appreciation and awareness. The latter part of the quote, “he begins to see the beauty of the water, the thickness of life,” employs imagery to illustrate this change. The water, previously a symbol of his desire to escape, now represents life and beauty. The phrase “the thickness of life” suggests a newfound recognition of the richness and complexity of existence.

“Legend. It was a good word for kilometers and miles, things covering space. As if the world was merely a story, and it was, one story laid down over another.”

The term “legend,” commonly associated with stories or maps, metaphorically represents both physical distance (kilometers and miles) and the concept of narratives that span across time and space. The metaphor extends the meaning of “legend” beyond its literal sense, suggesting that just as legends on maps denote and explain spatial features, so do legends in the broader sense denote and explain the human experience. The idea that “the world was merely a story, and it was, one story laid down over another” employs symbolism to depict the accumulation of human experiences and histories. This layered storytelling is symbolic of how cultures, histories, and personal narratives overlap and interweave, creating a tapestry that constitutes human existence.

“But love is not held back by the lines and bounds and fires of war and they found love for one another.”

The phrase “lines and bounds and fires of war” is a metaphor that personifies the destructive and divisive nature of war. Metaphorically, these elements represent the barriers and challenges created by conflict. The metaphor extends beyond the literal to suggest the emotional and psychological barriers imposed by war. The statement also employs antithesis, contrasting the destructive forces of war (“lines and bounds and fires”) and the constructive, unifying power of love. This contrast emphasizes the idea that love can transcend even the most hostile and divisive circumstances, prevailing where one might least expect it.

“There are many kinds of walls, like the wall Thomas built in front of the water. There are walls of history, and the secrets of history. There are ones no one can breach or climb, the invisible boundaries of humans.”

Symbolism is used with the “walls,” which represent more than physical structures. They symbolize barriers in various forms—emotional, historical, psychological—that people construct or encounter in life. The reference to the specific wall Thomas built symbolizes his personal barriers and the emotional distance he creates between himself and others, as well as between himself and his past. Metaphorically, these walls extend to “walls of history” and “the secrets of history,” suggesting that history itself creates barriers, perhaps through unspoken truths, forgotten events, or societal divisions. This explicit reference to the metaphorical nature of walls ties into the theme of Individual and Communal Healing, calling the reader’s attention to questions of isolation versus collaboration and greed versus generosity.

“Marco and the whale were related once again. He was the boy who went to live with the whales. He left to travel far distances. He learned the bottom of the sea. He began to see with the whale’s eye.”

Marco’s journey is not just a literal one; it represents a journey of understanding and assimilation into a realm beyond the normal human experience. His transformation and exploration of the sea symbolize a deeper exploration of self and a connection to the natural world. Imagery is present in the descriptions of Marco’s experiences. Phrases like “travel far distances” and “learned the bottom of the sea” evoke pictures of vast, unexplored underwater landscapes, which help to convey the magnitude of Marco’s journey into the unknown.

“The ocean is a landlord here. Everyone pays the sea. Only some pay more. Even the seals have to pay to remain there.”

Personification is evident in attributing the role of a landlord to the ocean. This human characteristic ascribed to a natural element emphasizes the ocean’s power and control over the life it supports. The statement “Only some pay more” hints at the unequal burden borne by different creatures in their struggle to survive in the oceanic environment. This could be reflective of the inherent challenges and dangers present in the natural world, where survival often comes at a higher cost for some species than others.

“But then, even as he wrote it, it was gone. That quickly. From flame to nothing. What could he say to Ruth?”

The use of ellipsis, indicated by the phrase “That quickly,” creates a pause in the narrative. This stylistic choice mirrors the abruptness with which the character’s thoughts vanish, adding to the sense of sudden loss and emphasizing the brief lifespan of the idea or emotion he was trying to capture. Additionally, the rhetorical question “What could he say to Ruth?” indicates the character’s internal conflict and uncertainty. It functions as a way for the character to express his indecisiveness and the struggle to articulate his feelings.

“The day of tranquillity is a day he will never forget because this day he hears the ocean. He hears the seabirds. He is free because of truth. He wakes alive, as if something is happening in his life, something unknown.”

The use of repetition and anaphora here emphasizes the character’s newfound attentiveness and awareness (“this day he hears the ocean. He hears the seabirds.”). The repetition draws attention to the specific elements of nature he is experiencing, highlighting a significant change in perception or state of being. In addition, this passage utilizes a simile, comparing Thomas’s awakening to the experience of something significant and yet unidentified happening in his life. This simile conveys a sense of anticipation and mystery, implying that this awakening is leading to a journey or discovery that is yet to be fully understood or explored.

“Even the wind isn’t blowing. There is just a breeze of something living, like the breath of the universe.”

That the wind isn’t blowing yet there is a breeze is a paradox. This paradoxical statement enhances the mystical nature of the moment, suggesting a stillness that is alive with a greater, spiritual force. This claim aligns well with the novel’s themes of connection with nature and the spiritual dimensions of existence.