Tomson Highway's play, The Rez Sisters, shows both the negative and positive results of the interaction between Native and white culture (Nothof , 1). This is seen in the Rez (small town) versus Toronto (city) mentality that the characters in the play use to measure the value of things (Aurylaitė, 172). The influence of the city, white culture, and its objects help shape the characters' identities and even affect the community. For the characters, Toronto is the place where all their dreams will come true (Aurylaitė, 172-173). It is Toronto that draws them into the desire for the “American Dream,” perhaps better described in today’s times as the “Western Dream,” and materialistic wealth. Despite this, the Wasaychigan reserve is relatively isolated from major metropolitan centers; the culture of urban whites spread easily throughout the small community. Among the Rez Sisters, the Wasaychigan and Toronto reserves are perceived very differently by the women. The reserve has no paved roads because of a lazy old chief who repeatedly broke this promise to his people (Highway, 6) and is considered small, dusty and boring, a vision (Aurylaitė, 172) that Pelajia reflects during a conversation with her sister Philomène: Pelajia. Everyone here is crazy. No jobs. Nothing else to do but fuck other people's wives and husbands and forget about our Nanabush (Highway 6). Pelajia's statement reflects a feeling that the reservation is boring and that there are no meaningful activities in which she or others can participate. the character who most wants to leave the reservation, even though Philomena insists she won't: PELAJIA. I'm tired, Philomena, tired of this place. There are days when I really want to leave. . .PHILOMENE. You...... middle of paper...... wants his brand new bathroom with the center piece of brand new toilet. Annie wants to buy her Patsy Cline records and become a backup singer for Fritz the Katz, while Marie-Adèle wants an island. In the end, all the characters were touched by the city, even those who did not receive what they wanted.Works Cited: Aurylaitė, Kristina. Crossing the border, putting on a mask: spatial rules and identity in the plays of Daniel David Moses and Tomson Highway. Crossed cultures: readings in post/colonial literatures in English 89. Amsterdam: Rodopi, 2007. Print.Highway, Tomson. The Rez Sisters, Calgary: Fifth House, 1988. Print. Nothof, Anne. “Cultural Collision and Magical Transformation: The Tomson Highway Plays.” » Studies in Canadian Literature 20.2 (1995): 34. CBCA Reference and Current Events, ProQuest. Internet. March 26. 2012.