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53 pages 1 hour read

Charles Frazier

Cold Mountain

Fiction | Novel | Adult | Published in 1997

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Chapters 9-12Chapter Summaries & Analyses

Chapter 9 Summary: “To Live Like a Gamecock”

Inman continues to travel with Veasey, though the men are clearly not alike. Along their journey, they find an abandoned saw. Inman believes that it has been left momentarily by the owner. Veasey takes the saw. Some time later, they meet a man in a stream, trying to move a dead bull that is blocking the water. Veasey suggests a harebrained scheme, contrasting with Inman’s practical, sensible approach.

Inman and the stranger shift the bull by cutting it into pieces. To thank them for the help, the stranger invites Inman and Veasey to dine with him. Inman accepts, offering the saw to the man as a payment in kind. As they walk to the man’s house, they stop. He has hidden a bottle of liquor inside a tree. The man—who introduces himself as Junior—tries to impress the two others with stories about his strength and manliness. Though he speaks about his large family, his manner suggests that he is actually a debauched and disreputable figure.

At Junior’s house, the three men drink. Junior talks more about his debauchery. Veasey drinks until he is unconscious. Lila, Junior’s wife, seems to share her husband’s debauchery, as do his sisters. Junior leaves momentarily and the women slip a powerful narcotic into Inman’s drink. They reveal their bodies to him and talk in a sexual manner. Inman senses that something is wrong. He hides his backpack and eats a strange meal of unidentifiable meat. Lila begins to undress and pulls the reluctant Inman toward her. Junior returns and angrily threatens to shoot the man seemingly cavorting with his wife. Instead, he suggests, Inman must marry Lila. Inman is unable to move due to whatever was slipped into his drink. Junior states that he has summoned the Home Guard to arrest Inman and Veasey. The Home Guard pays him $5 for “every outlier” (213) he turns over. He performs an improvised wedding between Inman and Lila, before Inman and Veasey are bound and taken away by the Home Guard.

Inman and Veasey are marched alongside other prisoners. They are not given any food or drink by the Home Guard. The men weaken but the march continues until, one day, a Home Guard announces that all the prisoners are to be shot. Inman is shot, but the bullet only grazes his skull. As the other prisoners die, Inman is only injured. The Home Guard do not notice, pushing him into the shallow grave beside the dead prisoners.

Sometime later, a herd of wild pigs arrives. They eat the bodies of the dead. Inman clambers free from the grave and, once again, starts heading west. He is soon exhausted, slipping in and out of consciousness. Inman is found by “a yellow slave” (221) who takes pity on him. The man offers Inman watermelon and helps to hide him among the various items on his sled, helping Inman to a hayloft on the farm where he lives. The enslaved people on the farm nurse Inman back to health and, when Inman can walk, the enslaved man who rescued him draws a map so that Inman can avoid the Home Guard.

Inman resumes his journey, but first returns to Junior’s house. He recovers his backpack and finds Junior, whom he kills by beating to death with his gun. The following day, Inman sits in the woods and watches the crows, envying their power to fly away from their enemies.

Chapter 10 Summary: “In Place of the Truth”

In fall, Ruby and Ada build a new fence with the help of Ralph, Ruby’s horse. Ruby will soon take a trip to Swangers to trade some items, so they prepare for the journey. In the barn, Ruby finds an old animal trap. She wants to use it to find out what has been stealing from the corncrib. They set the trap but, Ada insists, they place sacking over the teeth of the trap, just in case a human is caught.

Ruby prepares to depart. She suggests that Ada should make a scarecrow, as crows are already picking at the winter garden. Ada enthusiastically plans to make the scarecrow out of one of her old dresses. She will combine the mauve dress with her old straw hat. The result pleases Ada and she sketches the scarecrow to memorialize the moment in her journal.

When Ruby returns, she has swapped apples for cabbages. She also has a letter for Ada, presumably from Inman. Ada decides not to read the letter right away. When she does sit down and read it repeatedly, she is unsure what to do. The letter (the same letter written in the opening chapter) reveals Inman’s plans to desert. The letter describes the horror of war.

For the rest of the day, Ada entertains herself by playing a game with Ruby. They each compete to give each other hairstyles; the loser of the game is given the evening’s chores. Ada wins so, as Ruby performs the chores, she reads the letter again. In the letter, Inman compares himself to a portrait made just before he left. He no longer resembles that man, he tells Ada, “in either form or spirit” (236). She studies the portrait in question and reminisces.

Ada thinks about the time before Inman left for the war. They had a long conversation, held while walking around the farm. Inman told the story of Shining Rocks, a legend he heard from an elderly Cherokee woman when he was young. One day, the legend says, an outsider came to Kanuga. The outsider told the villagers that he was from a village of his own, one hidden behind the Shining Rocks of Cold Mountain. This village, he said, was a paradise. The people of Kanuga were invited to this peaceful village, but only if they were able to spend seven days fasting in their town house. The villagers attempted the fast. Every one of them went without food, except for one. The man who broke the fast was discovered, thus denying them all the chance to go to the idyllic village. Eventually, the entire village was taken and they were “driven away into exile” (242).

Ada tried to react glibly to this story, making her feel that she and Inman have struggled to properly say goodbye. She asked her father to take her shopping but, after she returned, she visited Inman’s empty room to apologize to him. Inman was surprised. They shared a more emotional goodbye, sealed with a kiss. They did not know that they would be separated for more than “mere months” (249). By now, years have passed.

Chapter 11 Summary: “The Doing of It”

Inman has been walking for nearly 10 days, avoiding Teague and the Home Guard. He sees the mountains at last, but trekking through the cold and the rain is difficult. One night, he sleeps inside a hollow tree. Without a fire and without food, he is “fuddled and wayless” (253).

An old woman finds Inman and takes pity on him, so she invites him to her home. She lives in a caravan and farms goats. As she tends to the fire, she slaughters a goat and prepares its meat. Inman joins her, eating the goat. They talk and their conversation becomes friendly and familiar. For 26 years, the woman explains, she has lived in the same place, raising goats, but she is adamant that she can “leave any time” (261). She also sells medicines and tracts. She refuses any money for the meal, so Inman offers to buy a tract from her. He buys a pamphlet about healthy diets.

When the woman inquires about Inman’s wounds, she asks whether he believes the war to have been a worthy cause. Inman, sensing that the woman is kind, tells her everything. She offers to heal his wounds using her healing techniques, offering lozenges and salves. For the rest of the evening, Inman talks to the woman. He speaks about Ada and how much he loves her, wishing that they had married before he left for the war. The woman speaks about her solitary life and the journals she writes. She has interesting stories about her experiences.

That night, Inman sleeps under her caravan. The following day, he stays with her. He falls asleep surrounded by the goats and wakes up to find the woman gone. When she returns, he bids her farewell and departs with her words of warning: She tells him, “[W]atch yourself” (272). She gifts him a drawing of a carrion flower plant.

Chapter 12 Summary: “Freewill Savages”

Armed with her shotgun, Ruby goes to the trap set near the corncrib and finds a man. She is surprised to find that the man is Stobrod, her father. By now, he has grown old. Ruby mocks her father for stealing her corn to run “a batch of liquor” (274) but sets him free, nonetheless.

She offers him breakfast and he reveals that he and a group of men (those not involved in the war, named outliers) live in a cave nearby. They hunt and drink alcohol. Ruby sends her father away and then spends the day with Ada. They talk together as they take in the farm. Deciding to take their dinner outside, they prepare a large meal. When they sit down to eat, however, Stobrod returns. He wishes to eat with them. Ruby does her best to continue her conversation with Ada while ignoring her father. They speak about the war.

After the food, Stobrod produces a fiddle. He explains that the fiddle is made with the rattles of real rattlesnakes and he “fashioned it himself during the months of living fugitive” (279). He tells a story about how he learned to play the instrument when a father asked for someone to play music for his badly wounded daughter to ease her pain. Stobrod played music for the dying girl and he has been obsessed with music ever since, giving him a new purpose in life. He plays for Ada and Ruby, who cannot deny that he is a powerful performer. Ruby refuses to acknowledge her father’s talent, but Ada praises the way in which he has discovered music as a possible “path to redemption” (286).

Chapters 9-12 Analysis

Inman’s relationship with Veasey creates a point of contrast in The Struggle for Survival: Whereas Inman is selfless, Veasey is selfish. When they meet Junior, however, they are placed into a broader moral context. Inman’s goodness is emphasized by the depravity of men like Veasey and Junior. The two men have much in common. Veasey is introduced to the audience when he is about to murder a woman, mocking the apparent vows that he has sworn to God as a preacher. Junior is similarly profane, insisting on hosting a sham wedding ceremony even after he has turned over his guests to the Home Guard.

The trip to Junior’s house is one of the few times in which the characters in the novel betray their obligations as hosts. Ada, now that she and Ruby are getting by, demonstrates the importance of being able to offer food and shelter to those in need, even if they cannot necessarily be trusted. Everyone is struggling to get by, so a makeshift mutual support network emerges in which people are willing to help one another whenever they can, should they need similar help in the future. Junior abuses this idea, inviting two men into his home after they have spent most of their day helping him. He then sells them to the Home Guard for personal profit, risking their lives as well as betraying his status as a host.

Veasey and Junior are not only portrayed as immoral characters because of their actions; the way in which their existence profanes against the fundamental social norms of the era demonstrates why they are so abhorrent to Inman. Veasey the preacher blasphemes against the church through his very existence, while Junior insults the sense of community that people depend on to survive. Inman barely registers Veasey’s death and goes out of his way to kill Junior, bringing justice to the two men whose existence is a threat to those simply trying to survive the war.

When Ruby is away, Ada is assigned a task. She is asked to build a scarecrow. The scarecrow is an important figure in Ada’s development, not only because she is reminded of how closely she now pays attention to the natural world. Whereas she would previously have escaped into a novel, she cannot do so any longer. She is more attuned to nature, to the point where she has given a name to the biggest crow in the garden (See: Symbols & Motifs). She is turning the natural world into a novel and creating characters from the farm itself.

Ada’s change is also illustrated in the way she dresses the scarecrow. Rather than using her dead father’s clothes, she opts to use one of her expensive dresses. The dresses are from her time in Charleston, a time that now feels utterly remote and alien to Ada. She does not want the dress any longer and she uses it for the scarecrow as a symbolic demonstration of how she has left that old life behind. The mauve dress is her past, placed in the field to provide some utility in her present. The old Ada coveted and loved such objects, while the new Ada is focused only on survival. The scarecrow in the mauve dress demonstrates the extent to which Ada has embraced her new life. That she is so eager for Ruby to see this scarecrow (and to see her working in the field) demonstrates how she now craves Ruby’s approval.

Stobrod’s appearance at the farm is a mirror of Inman’s experiences with the goat- herding woman. The goat-herding woman encourages Inman to heal, offering a place to stay, something to eat, and an assortment of balms and tinctures for his various wounds. After his traumatic experiences with Veasey and Junior, the time he spends with her is an important respite that gives him the strength to resume his journey. Stobrod’s appearance at the farm also gestures toward the importance of healing. Stobrod’s relationship with his daughter Ruby is not good. She justifiably resents him for his absence during her childhood; he frequently left her to fend for herself, even though she was far too young to do so. Ruby has learned to survive without her father.

Meanwhile, Stobrod claims to be a changed man. Music has changed him, he says, altering the way in which he relates to the world around him (See: Symbols & Motifs). Music heals Stobrod and becomes a new form of language, one that he has finally learned to speak and that now replaces his actual language. Music heals Stobrod’s alienation from the world and, armed with this new language, he seeks to repair his relationship with Ruby. While Inman revitalizes himself with the goat-herding woman, the self-sufficient Ruby is given the chance to repair the relationship with her father through The Power of Transformation.

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