Classic and Contemporary Poetry: Explained

"Indian Graves at Jocko" by Richard Hugo is a somber reflection on the history of displacement and cultural erosion experienced by Indigenous peoples in the American West. Through vivid imagery and poignant language, Hugo paints a picture of a graveyard that stands as a symbol of the broader injustices faced by the Flathead people and other Native American tribes.

The poem begins with an unsettling image: "These dirt mounds make the dead seem fat." The weight of the dirt mounds suggests a physical heaviness, but also a metaphorical burden, perhaps representing the weight of history, oppression, and loss. The "crude walls of rock" that hold the dirt are described as having been "placed with skill or luck," hinting at the resilience and adaptability of the people who constructed them. Despite the skill involved, there is an inherent fragility, as these walls are meant to withstand the natural elements, particularly "when rain rides wild."

Hugo contrasts the rough, earthy reality of the graves with the failed attempt to impose Catholicism, symbolized by the "drab boards of this chapel" and the "shabby third hand crosses." The chapel, with its incongruent presence, fails to make the graveyard truly Catholic. The line "A mass across these stones becomes / whatever wail the wind decides is right" suggests that the natural world, rather than the imposed religion, governs the spiritual atmosphere of the place. The wind, an unpredictable and untamable force, becomes the true voice of the graveyard, perhaps representing the enduring spirit of the people buried there.

The poem then delves into the historical context, mentioning the "Black Robe" (a term often used to refer to Catholic priests who worked to convert Native Americans) and the "promised masses." These promises, well-intentioned or not, are depicted as inadequate, symbolized by the "shabby third hand crosses." The graveyard, described as being able to "expand, can crawl / in all directions to the mountains," suggests the relentless spread of death and loss, as well as the persistent presence of the Native people, even as they were pushed to the margins of their own land.

Hugo evokes a deep connection to the land through the imagery of the mountains, the salmon, and the sun that once "toned the arrows / when animals were serious as meat." These lines recall a time when the land was integral to the way of life for the Native people, before it was disrupted by colonization and forced assimilation.

The contrast between the living and the dead is stark: "The dead are really fat, the houses lean / from lack of loans." The "fat" dead suggest a permanence, a fullness of presence, while the "lean" houses indicate the poverty and neglect experienced by the living descendants. The river, running "a thin bed down the useless flat," symbolizes the diminished vitality and the erosion of the land's value, reduced to a "useless" space by the injustices inflicted upon the people.

The poem also touches on the community's sense of loss and dislocation: "The dead are strange / jammed this familial." The phrase "jammed this familial" conveys a sense of forced proximity, perhaps alluding to the disruption of traditional burial practices and the imposition of foreign customs. The "cheap fence" that separates the chapel from the graves further emphasizes the division between imposed religious structures and the enduring connection of the dead to their land and heritage.

In the final stanza, Hugo reflects on the historical and cultural implications of the graveyard: "A forlorn lot like this, where snow / must crawl to find the tribal stones," suggests that even nature struggles to connect with the buried past. The mention of "Garfield's forgery" refers to the deceit and broken treaties that marked the government's dealings with Native American tribes, specifically referencing President James A. Garfield's role in the relocation of the Flathead people from the Bitterroot Valley. The "aimless trek / of horses from the stolen Bitter Root" evokes the forced migration and the displacement of the people from their ancestral lands.

The poem concludes with a powerful observation: "Dead are buried here because the dead / will always be obscure, wind / the one thing whites will always give a chance." This line highlights the ongoing marginalization of Native Americans, even in death, as they remain "obscure," forgotten or ignored by the dominant society. The wind, once again, becomes a symbol of the natural forces that persist despite human injustice, but also a reminder of the minimal recognition and respect granted to Native peoples by the colonizers.

"Indian Graves at Jocko" is a haunting meditation on the legacy of colonialism, the resilience of Native cultures, and the deep ties between land, memory, and identity. Through his evocative imagery and careful attention to historical context, Hugo captures the enduring sorrow and dignity of a people whose stories are often overlooked or erased.

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