Native American poetry has often been overlooked unfairly by scholars, publishers, and readers. There are more than 570 recognized Native nations in the United States, each with its unique languages and cultures, yet very little has been written about the influences or backgrounds of most Native American poets.
Joy Harjo’s new memoir, Poet Warrior, aims to address this lack. As a member of the Muscogee (Creek) Nation, Harjo holds the distinction of being the first Native American Poet Laureate and one of the few to serve multiple terms. In addition to being the author of numerous poetry collections and six albums, Harjo actively promotes the work of other Native poets. Through Living Nations, Living Words, she explores the United States through the poems of forty-seven contemporary Native Nations poets, emphasizing the significance of poetry in interpreting people’s experiences:
“We view poetry as a living language, whether it is in our tribal languages, English, or another language. Poetry serves many purposes, from marking transformations to offering praise or even averting a storm. It is a tool to uncover the extraordinary in the mundane.”
This perspective shapes Poet Warrior, where Harjo eloquently recounts her upbringing in the Muscogee (Creek) Nation in Southeastern Oklahoma by sharing stories about her ancestors, family, and community elders. Harjo’s narrative blends prose with poems, songs, chants, and photographs to trace her evolution from a “Girl Warrior” to a “Poet Warrior.” She presents her tale in a nonlinear fashion, acknowledging that “Life never goes in a straight line in our Native communities. Time moves slower.”
In its finest moments, Poet Warrior delves into the hidden meanings of everyday occurrences. For instance, during a drive in Northern California, a white owl descends upon Harjo’s windshield. She reflects on this encounter by stating, “Birds are messengers; the owl signifies transformations in our lives, symbolizing spiritual power that can both give and take life.” Harjo also acknowledges that the true significance of life events may remain elusive at times.
Harjo candidly portrays her upbringing in poverty with a mother who had limited education and a father struggling with alcoholism. Despite these challenges, she finds wisdom in their experiences and ties her family narrative to the broader history of her people, particularly the displacement from their ancestral land. Harjo’s great-grandfather was born just after her community was forced to relocate by the US government, shaping her journey toward becoming a “poet warrior.”
Moreover, Harjo pays tribute to her poetic influencers. She recalls the profound impact of encountering an Emily Dickinson poem for the first time, feeling a connection across time, space, and culture. Simon Ortiz, a seminal figure in the Native American Renaissance, inspires her with his ability to blend personal and political themes through his tribal language. Harjo also draws inspiration from Audre Lorde and Walt Whitman, leading her to explore pre-colonial Indigenous poetry and “decolonize” her poetic approach by embracing poets rooted in cultures predating English colonization.
Poet Warrior transitions swiftly between scenes, some of which could benefit from more vivid details and dialogue. For example, when Harjo recalls being stopped by the police after an Indigenous education conference in Oklahoma City, adding dialogue could enhance the depiction of the potential injustices she faced. A similar approach could elevate other anecdotes, such as interactions with an academic criticizing her poetry as too simplistic or moments shared with her ailing mother.
Harjo’s straightforward and authentic narrative style imbues the book with a sense of ease. A tale of spirituality and renewal in the face of challenges, dispossession, and family struggles, Poet Warrior is recommended not only for Harjo enthusiasts seeking insights into her life and influences but also for anyone interested in a poignant and enduring memoir blending poetry, song, and prose.
