The denial, failure and inability of the men to recognize the violence within their community manifests itself in subtle ways. After the puck has gone, during the first scene of Act Two the men congregate in Spooky Lacroix’s kitchen for a fractured, disjointed scene. After Pierre St. Pierre says the puck disappeared “down that horrendous, scarifyin’ Nataways bosom crack” they are plunged into darkness, but when Spooky blames Gazelle Nataways for her own injury, insisting it “serves… her… right for trimming her hockey sweater in the chest area,” and Zachary attempts to dismiss the topic with the aforementioned mythologizing, the lights come back on (Highway 81). When Pierre St. Pierre persists about the particular puck, the lights go out again, and he is transported briefly to a different chair in the room. The inconsistency of the characters’ positions and the varied pacing of their dialogue are consistent with the inconsistency of their recollections of the night Dickie Bird Halked was born, and the puck is what triggers the lights and Pierre St. Pierre’s shift in position, acting as a connecting symbol between the past and present. The acknowledgement of the particular puck drags the men into the memory at the bar despite their resistance to it, as the darkness is gradually replaced by a flood of lavender bar light (82).
This play is fucked, but it’s genius. Also there’s kind of time travel in that the play, and how memories are formed, are less like linear recollections and more like wibbly wobbly timey wimey things.