Our Little Eskimo Cousin — A Closer Reading
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Read the Text
A PAIR of very bright black eyes peered out from the mother's hood that winter morning. The thermometer, if there had been one, would have shown the temperature to be seventy degrees below the freezing point.
Yet baby Etu did not seem to care. He was nestled so warmly in the heavy furs, and felt so safe on his mother's broad back, that he laughed and crowed in pure delight.
It was his first ride since he was born, and there was so much to look at! At least he thought so, though great sheets of snow stretched outward to the frozen ocean, and covered the land in every direction. The twinkling stars gave the only light for Etu to see by, yet it was daytime. It was that part of the twenty-four hours when the baby's people did their work; and that must be called day in Etu's far northern country, even though darkness covers all the land.
For Etu lives in the frozen zone, on the shores of northern Alaska, and during the long winter of eight months the sun shows his face very little above the horizon.
Here and there the snow looked as if it had been raised into low mounds. Near these mounds holes could be seen in the ground, and pathways dug out between them. There were no trees, no fences, no roads.
Where was the village, and where was the baby's home? Those holes marked the entrances to the winter houses built by Etu's father and his neighbours. The mounds were the coverings of the houses. Great pits had been dug in the earth, and lined with driftwood which had floated on to the shore. Jaws of whales made the framework of the roofs, these being covered with sods cut out of the marshy plains in summer. Mother Nature did the rest by protecting all with a warm close blanket of snow.
At first it makes one shudder to think of living in such homes during the long Arctic winter. But the Eskimos are satisfied, and feel so comfortable that they remove a great part of their clothing while they are indoors. The houses are made so snug that the sharpest winds cannot enter, and they cost nothing but the labour of making them.
Etu's mother allowed him to stay out only a few minutes this first time. She soon turned toward home, and coming to her own doorway crawled down through a long slanting tunnel in the ground, eight or ten feet long. When she reached the end, she was obliged to stoop even lower, for now she must pass upwards through another passage. Lifting a trap-door, she stepped at once into the middle of her own home.
Why was there such a queer entrance? Because the wind must be kept out at all hazards. After all, it seemed easy and natural enough to this woman who had never known other and pleasanter hallways.
How close it seemed after the fresh cold air outdoors! There was a strong odour of smoking oil. It was noisy, too, as other women and children were moving around inside, for the house was shared in common by several families who were friendly to each other, and enjoyed living together.
Etu's mother quickly took off her outer coat of sealskin, and, lifting her baby out of his warm nest, placed him on a platform which stretched along one side of the room. What a round, smiling dumpling he was! His face was broad and flat, while his little nose looked as though it had been punched inwards. His bright eyes were quite narrow.
He wore a curious skin cap drawn tightly over the top of his head. He must keep this on night and day for a year, at least. It would make his forehead taper upward, and that is a mark of beauty among his people. As soon as he was born, the top of his head was pressed between his nurse's hands, and the cap fitted on at once so that his head might grow in the proper shape. After that operation he was taken outdoors, and rolled in the snow. I suppose that was to get him used to the cold climate of his birthplace. Don't you?
Baby Etu's skin was much whiter than his mother's,--very nearly as white, in fact, as your own little brother's. Why has he changed so much since he has grown to be a big boy? Listen to the strange reason.
Mary Hazelton Wade's Our Little Eskimo Cousin (1902) builds its portrait of Arctic life through a series of short, self-contained episodes that follow the boy Etu from babyhood through a hard winter. The narrative moves repeatedly between the close, lamp-lit interior of the family's snow house and the vast, dangerous exterior of ice and ocean. This structural rhythm, paired with recurring images of light—the aurora, the seal-oil lamp, the brief winter sun—gives the book a distinctive pattern of withdrawal and return.
Episodic Structure and the Rhythm of Days
Within each episode, Wade often begins with a general statement (“Time passed by”) before zooming in on a specific incident. This pattern—from overview to close-up—gives the reader a sense of both the repetitive nature of daily life and the sudden disruptions that break it. The wolf attack in Chapter VIII, for example, is introduced as a sudden noise that wakes the household, then unfolds as a tense, immediate crisis.
Light and Darkness as Recurring Motifs
This motif extends to the hunt. Etu searches for seal holes in the ice, where the only sign of life is a tiny breathing-hole in the snow. The contrast between the bright, open sky and the hidden, dark chamber of the seal’s den reinforces the idea that survival depends on reading the landscape’s subtle cues. The aurora, mentioned in the preface, is never described in the body of the text, but its absence underscores the harsh reality of winter.
Movement Between Interior and Exterior Spaces
Wade often uses the passageway—the tunnel leading from the house to the outside—as a threshold. When the wolves attack, the men “moved as quickly as possible down the passageway” to confront the threat. The passageway is both a link and a barrier, a liminal space that separates the domestic from the wild. Similarly, the seal’s breathing-hole is a passage between the water and the air, a point where the hidden becomes accessible.
The Role of Animals in the Narrative Structure
Wade also uses animals to introduce information about Eskimo life. The description of the mother seal’s “dome-shaped house” and the baby seal’s habits is woven into the hunt episode, so that natural history is embedded in action. This technique keeps the exposition from feeling like a lecture, though it occasionally slows the pace. The wolves, the dogs, the seals, and the walruses each appear in specific chapters, giving the book a bestiary-like structure.
Readers may find it useful to pay attention to the way Wade uses the seasons as a framing device. The book moves from babyhood in spring through summer play, autumn hunting, and a harsh winter crisis, then ends with a feast. This seasonal arc gives the episodic chapters a sense of progression, even though the narrative does not follow a single conflict. The illustrations by L. J. Bridgman, though not reproduced here, would have reinforced the visual contrast between interior and exterior that the text establishes.
Reading about the lamp-lit warmth inside that Alaskan home made me think of my own childhood winters. Dick Kent with the Mounted Police — Text and Context carries a similar quiet pulse — light flickering against enormous dark cold. Both books feel less like adventures than like peering through frosted glass at lives held steady by small daily rituals.
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