In Richard van Camp’s Angel Wing Splash Pattern the chapter “Sky Burial” uses the mall similarly to how  Tomson Highway portrays it in Kiss of the Fur Queen. In van Camps work he uses the space of the mall to refer to a place of entrapment and ruin. His allusion of the macaw in the cage chained to its post seems to refer to the main character Icabus. It’s Icabus who seems to relate to the macaw, perhaps which is why when van Camp alludes to him dying he’s described as flying, “Icabus flew with an explosion of white feathers and was swallowed by the hottest lake …and there was peace” (47). As well, van Camp uses Icabus’ daughter and the people surrounding him to make note of the ruin people in the mall seem to be. Icabus describes his late wife as having grace and elegance (43) while insinuating his daughter is the opposite and the Indigenous people he sees as ruined, “a table away, sat a family of ruined Indians. They had all let themselves go.”(41). On the other hand, in Kiss of the Fur Queen Highway uses the mall in similar ways. Highway portrays the mall almost as a separate entity with a vast hunger for consumption, “Grey and soulless, the mall loomed behind them, the rear end of a beast that, having gorged itself, expels its detritus” (121). The mall is both a heaven for its variety of resources, as well as a place of evils. As an extension of urbanization, the mall as a space holds a sense of evil. This is perhaps most exemplified when Jeremiah tells Gabrielle, while browsing the goods in the mall, that even women can also be sold, ”In cities…it’s done all the time, all the time. It’s like selling meat” (116). Over all, these authors paint the space of the mall to be a rather devoid place despite the abundance  of material goods. They both seems to describe the mall as a place lacking for meaningful interactions and a general sense of well-being.