The Stranger Arrives
One theory about fiction proposes that there are just two types of stories. In one, the narrative is a reaction to a person starting out on a journey. In the other, the narrative is the reaction to the arrival of someone. That arrival need not necessarily be embodied in a stranger. In this particular case, however, that would be the version of the second example:
“Virgil had a much better view of the motorcycle that was coming up his grandmother’s dirt driveway. An old one, by the looks of it, but in immaculate condition. It glistened in the sunlight as it stopped by the side door. Like most boys his age, Virgil had more than a passing interest in gas-powered vehicles, especially anything that could be classified as `cool.’ And this scarlet vision before him put the word cool to shame.”
The Trickster
Another theory of storytelling is much more complex. It is one which suggests all stories feature certain archetypes. These are characters embodied within a certain type of stereotype of fundamental human attributes. One of the most famous of these archetypes is that of the Trickster. He appears in this story within a traditional Native American figure known as Nanabush:
“Nanabush teaches us the silliness of human nature, but don’t forget he has special powers. And people with powers tend to act differently from you and me. And I’m not talking in a Superman or Spider-Man way. They have their own set of rules. According to some who really studied those stories, he is a creature of appetites, of emotions, of desires. That is not a good thing to be. That’s what usually got him into trouble.”
Raccoons
Somewhat bizarrely, raccoons play a rather significant role in this little drama. This excerpt from the main scene featuring the animals includes imagery which gives a very strong suggestion of how they play out their role. Suffice to say, this story is committed to the whole concept of realistic fiction:
“The raccoons’ chattering had grown louder and increasingly heated. More and more of the subordinate raccoons were contributing to the argument, and others were appearing out of the dark forest, ready to support their brothers…Another raccoon, a smaller one, jumped up on the stump beside the other, and began chattering animatedly at the motorcycle man. It had an oddly shaped tail—seemingly shorter than the other raccoons’ tails, with a bald patch on its tip.”
Jesus
As in Christ, not a common name for Hispanic males. Imagery of Jesus is significant to the way the narrative plays out. That is, imagery in the particularly specific and precise version of how John—the guy with the motorcycle—perceives Christianity:
“John stared at the elaborate figure on the cross, taking everything in. He counted Jesus’ ribs, examined the pained expression on his face, the nails in his hands and feet, the cut in his side, the crown of thorns, all carefully reproduced on this wooden icon. He remembered reading somewhere that there is no record that this Jesus guy ever laughed or even smiled. Jesus sounded boring, in fact, aside from the fact he could do some clever magic tricks.”
