Classic and Contemporary Poetry: Explained

Paula Gunn Allen’s "Creation Story" is a poetic reimagining of a creation myth, deeply rooted in Indigenous cosmology and the cyclical nature of time. The poem speaks to emergence, renewal, and the sacred connections between the earth, the people, and the sustaining forces of nature. The title signals the poem’s mythic framework, situating it within a tradition of oral storytelling that passes down knowledge about origins, time, and the responsibilities of living in harmony with the world.

The poem begins with an elemental force—"Light." This single-word opening conveys the fundamental role of light in creation myths across cultures, where illumination is often the first step in bringing a world into being. The next line, "Stage of dawn," reinforces the idea of beginnings, positioning dawn as both a literal and figurative setting for transformation. The phrase "Opening on new worlds for the fifth time" suggests the concept of multiple worlds, aligning with Pueblo and Navajo creation stories, in which humanity has moved through a series of worlds, each representing a different phase of existence. The reference to "the fifth time" evokes the Hopi belief in the emergence into the Fifth World, where people must live in balance with nature to avoid destruction and transition again.

Allen emphasizes the importance of ripeness and timing in creation: "And not until they came forth the Fourth Time was it ripe." This suggests that emergence requires preparation, growth, and fulfillment—humanity does not emerge arbitrarily but in accordance with a cosmic rhythm. The imagery of dawn takes on a divine dimension with the arrival of a sacred feminine figure: "That dawn She came, riding the sun." The capitalization of She signals her significance, linking her to Mother Earth, Corn Woman, or other creator deities in Indigenous traditions.

The phrase "humpback flute player heralding Her dawn" introduces a crucial mythic figure—the Kokopelli, often depicted as a flute-playing, humpbacked fertility deity in Southwestern cultures. Kokopelli is associated with agricultural abundance, music, and renewal, and here, he becomes a harbinger of the Corn Maiden’s arrival. The Corn Maiden, who follows, is "riding the new day," symbolizing the gift of sustenance and life. Corn is sacred in many Indigenous traditions, representing survival, nourishment, and continuity. The description of her as "sweet maiden" aligns her with figures such as White Corn Woman among the Hopi or Selu in Cherokee mythology, both of whom bring agricultural knowledge and prosperity to the people.

The next lines, "latest in a series / of alternate paths / time of colors / rising," reinforce the idea that creation is not a singular event but part of a continuum. The "time of colors" may reference the traditional belief in different colored worlds—such as those in Navajo mythology, where the First World was black, the Second blue, the Third yellow, and the Fourth white. The phrase suggests a dynamic, shifting reality where time moves like a spectrum, carrying change and transformation.

The communal aspect of creation is emphasized: "And the sign of those days would be / She decreed, and the people arising agreed." This moment suggests a harmony between divine will and human agency—the people are not merely passive recipients of creation but active participants, acknowledging and accepting their place within the cosmic order. The line "So we emerged into consciousness." signals a transition—not just physical emergence into the Fifth World but an awakening to awareness, responsibility, and spiritual existence.

The poem then shifts to describe the underworld: "Born below in the place of nourishment / where those who have gone / wait, work, and come four days at a time." Many Indigenous cosmologies describe previous worlds or underworlds as places where spirits reside before emerging into the present world. The reference to "four days" aligns with sacred numerology in Pueblo and Navajo traditions, where the number four represents completeness—four directions, four sacred mountains, four seasons, and four worlds. The ancestors are not simply gone; they "wait, work, and come"—suggesting that they remain actively involved in the cycle of life and death, ensuring the arrival of rain and renewal.

The natural world participates in this ongoing creation: "They fall on the gentle earth, sighing, / the squash, bean, corn sing of growing and of grace." The sacred Three Sisters—corn, beans, and squash—are not just plants but living, singing entities that embody sustenance and generosity. The personification of these crops suggests that agriculture is not merely a human practice but part of a divine relationship with the land. The phrase "sing of growing and of grace" implies that survival is not just about physical sustenance but also about gratitude, balance, and the recognition of interconnectedness.

The imagery of pollen—"golden in that time, glowing, that return."—connects to many Pueblo and Navajo rituals where pollen is used in ceremonies to honor the land and the ancestors. Pollen represents fertility, blessings, and the sacred nature of growth. The idea of "that return" reinforces the cyclical nature of time in Indigenous worldviews—existence is not linear but a series of returns, renewals, and regenerations.

The final lines ground the poem in naming and belonging:
"So on that day was given all this, / called Iyetiko, called Mother, / the clans, the people, the deer: / tracks left here and there / are signs."
The word Iyetiko is not widely recognized, but within the context of the poem, it appears to be a sacred name for the Mother or the life-giving force. The act of naming is crucial in creation stories—naming something acknowledges its existence, giving it power and place in the world. The reference to clans, people, and deer situates this creation story within a community where humans, animals, and spirits are deeply intertwined. The tracks left here and there reinforce the idea that creation is not a singular, completed event but an ongoing process marked by traces, signs, and memories that guide those who come after.

Paula Gunn Allen’s "Creation Story" is both an origin myth and a meditation on continuity. The poem presents emergence not as a singular act but as part of an ongoing cycle where dawns rise, spirits return, and the earth continually offers signs to those who are willing to see them. The interplay of sacred figures—Corn Maiden, Kokopelli, Mother, the ancestors—reflects a worldview where time is expansive, and creation is always in motion. Through its rhythmic language and vivid imagery, the poem invites the reader to recognize the sacred rhythms that persist beneath existence, affirming that, even in the present world, we are still living in the echoes of creation.

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