45 pages • 1 hour read
Nalo HopkinsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Carnival Season begins. Antonio asks Tan-Tan if he can take her to the Children’s Masquerade, but she refuses. Ione brings Tan-Tan to the “fight yard to watch the practice” (34) for the Jour Ouvert morning duels. While dressing Tan-Tan, Nursie talks about her days as a stick fight dancer and the other fighters who practiced capoeira. The pedicab runner gives Ione a message from Obi-Be that predicts the upcoming action.
They pass Carnival preparations, like secret construction sites for floats and costumes, and through the gates to the fighting practice grounds. Tan-Tan sees the dance patterns of the stick fighters and thinks they will hurt each other, but Ione assures her it is all a “pappyshow,” a performance that isn’t “real” (41).
Quashee is among the machete fighters and yelled at for cheating. Antonio reveals he was fighting nearby, disguised by his helmet. He challenges Quashee to a duel; Quashee accepts. Tan-Tan runs to Antonio, who promises her and Ione he will come home after beating Quashee. Ione assures Tan-Tan that the duel is not to the death and will end when one competitor is hurt too badly to continue or asks to stop.
The narrative becomes a flashback about Ione and Antonio’s “stormy relationship. ‘Love so sweet it hot’” (45). They go through cycles of arguing and making up, Antonio cheating and coming back, before the birth of Tan-Tan. Ione hopes starting a family will bring Antonio’s attention back to her, but he ends up more interested in the baby than Ione. While Ione goes through lovers, the eshu teaches Tan-Tan about the Robber Queen. When Antonio finds out about Ione’s longest-lasting lover, Quashee, the flashback catches up to the beginning of the main narrative.
Returning to preparations for the duel, Antonio visits his friend Maka, who is making him a poison to coat his machete. Maka has no house eshu, so they discuss Granny Nanny and how learning to sing nannysong is a way for runners to deliver secret messages. They test the poison on a mouse; it is knocked unconscious but does not die.
The morning of the duel, Tan-Tan is nervous and puts on her Robber Queen costume. The house eshu tells Nursie that Ione approves of this outfit choice, but it is discovered the eshu never asked her. Tan-Tan and Ione see people dancing throughout the town on their way to the duel. Their limo is approached by a Robber King who tells a speech, and Ione pays him.
In the fight yard, Antonio and Quashee prepare to duel, enter the ring, and are checked for technological cheats. After being told the rules—that they “shouldn’t kill” but instead “show mercy” (60)—Ione giving Antonio her handkerchief and the men fight in the ring. Antonio defats Quashee, cutting his neck only slightly. However, the poison is stronger than he thought, and Quashee begins to choke. The sheriffs arrest Antonio.
Nanny directs law enforcement to drop off Ione and Tan-Tan before confining Antonio in the shift tower in Liguanea. The sheriffs give Antonio time to pack, and he takes Ione into the bedroom, leaving Tan-Tan with Nursie. Tan-Tan pretends to drink the drugged cocoa-tea and slips out after Nursie thinks she is asleep. Antonio’s friend Mako is there; he sings Tan-Tan’s earbug off and gives her a package for Antonio.
Tan-Tan hides in the trunk of the sheriff’s autocar and gets scared, so she calls on the house eshu, which turns her earbug back on. The A.I. alerts the sheriffs, who stop the car and take her out of the trunk. She is taken into a holding cell with Antonio until Ione can come get her. The building’s eshu informs them that Quashee has died, and Tan-Tan gives Antonio the package from Maka.
Antonio believes the “only way out is through” and “freedom is the thing” (71). He uses the box, which sings nannysong, to open the cell door. Tan-Tan asks to go home, but Antonio wants to take them to New Half-Way Tree. They enter the pods in the shift tower that are also activated by the singing box. Passing through several nauseating and painful shift waves, or “dimension veils” (74), they arrive in some trees and bushes on New Half-Way Tree.
Jour Ouvert, also known as J’ouvert, is a part of Carnival celebrations all over the Caribbean with roots in street parties of enslaved people and emancipation. Hopkinson emphasizes the dancing and fighting elements of this festival. This relates to the Jonkanoo Season, as Tan-Tan’s hat-ship represented a nation ship that carried people to freedom.
There are several timelines running in this section: the main narrative following Tan-Tan; the history of Antonio and Ione’s relationship; Antonio’s perspective before the fight; and the main narrative following Tan-Tan once more. Cycling through scenes that are external to Tan-Tan’s point of view provides more context about Antonio’s actions for the reader. When the third-person narrator focuses on Tan-Tan, it shows how her perspective is limited by childhood inexperience. As she is later forced to grow up too fast after her traumatizing abuse, this early section sets up her innocence as a contrast.
In Antonio’s section, readers see a more adult conversation about technology that includes allusions to William Gibson’s cyberpunk novels. For example, Maka explains how he gets privacy from Granny Nanny: “If you sing the right songs, so long as Nanny don’t see no harm to life nor limb, she will lock out all but she overruling protocols for a little space” (52). Gibson consistently references a hacker called Captain Crunch who pioneered using tones to get free long-distance calls; Maka’s singing, which is automated in the box he gives to Antonio, is a classic hack.
In fact, Hopkinson alludes to Gibson throughout the novel. Both authors use Orisha as part of technology and focus on eyes when describing technological advancements. Hopkinson writes: “Tan-Tan’s pupils contracted against the glare, the nanomites swimming in the vitreous humour of her eyes polarised, dimming the light for her” (55). This strongly recalls Molly’s permanently embedded sunglasses in Gibson’s Neuromancer.