Classic and Contemporary Poetry: Explained

Linda Hogan’s "Get Up, Go AWOL!" is a rebellious, richly layered poem that critiques militarism, religious orthodoxy, and societal structures while celebrating the resilience of nature and the human spirit. Known for her focus on indigenous identity, environmental interconnectedness, and the impact of colonization, Hogan uses surreal and provocative imagery to challenge entrenched power systems and invite readers to embrace liberation—both personal and collective. Through the voices of both human and non-human entities, the poem dismantles hierarchies and imagines a world where even the sacred is unshackled from human constructs.

The poem opens with a scene of soldiers on bivouac, depicted with precise, almost caricatured attention to their appearance: “with perfect creases bend down behind the stone virgin and throw dice.” The image of soldiers, symbols of discipline and control, engaging in a game of chance behind a religious statue sets the tone for the poem’s critique of authority and tradition. The juxtaposition of military order and religious iconography with the randomness of gambling highlights the absurdity of the systems that govern human behavior. The dice, associated with risk and luck, suggest that even those who represent institutional power are subject to forces beyond their control.

Hogan then personifies the statue of Mary, giving her a voice that subverts her traditional role as a symbol of piety and maternal suffering: “I’m too old for this, having journeyed so far with my heart this way and my poor legs hardening with veins.” Mary, often depicted as the embodiment of patience and endurance, expresses fatigue and frustration. Her “poor legs hardening with veins” suggest not just physical aging but also the weariness that comes from centuries of being a passive symbol in human narratives. This humanization of Mary transforms her from a distant, idealized figure into a relatable character who rejects the roles imposed on her.

Mary’s rebellion is explicit: “To hell with the soldiers and thugs and cops standing guard, with religion and capitalism and shooting craps.” This line is a direct denunciation of the institutions that have historically used religious symbols to justify oppression and control. By lumping together “soldiers,” “thugs,” and “cops,” Hogan critiques the militarization of society and the violence embedded in systems of authority. The inclusion of “religion and capitalism” in this condemnation broadens the critique to encompass the ideological frameworks that sustain inequality and exploitation. Mary’s rejection of “shooting craps” ties back to the opening image of the soldiers gambling, reinforcing the idea that life under these systems is governed by arbitrary forces rather than justice or compassion.

Amid this rejection of oppressive systems, Hogan celebrates the vitality of everyday life: “Up with the corn! Viva la chocolate! God save the black beans!” These exclamations are both humorous and profound, elevating the simple, nourishing elements of life to sacred status. Corn, chocolate, and black beans are staples in many indigenous cultures, symbolizing sustenance, tradition, and connection to the earth. By juxtaposing these with the earlier critiques of authority, Hogan suggests that true reverence belongs not to abstract institutions but to the tangible, life-giving elements of the natural world.

The poem then shifts to a more somber tone: “There’s wailing in the distance, not insects rubbing their wings but someone crying out, oh no oh god hail Mary.” This line blends the natural with the human, contrasting the ordinary sounds of nature with the raw, emotional cries of suffering. The invocation of “hail Mary” reintroduces the religious motif, but in a context of desperation rather than devotion. The imagery of a wife shaking her husband, urging him to “Get up. It’s raining,” grounds the poem in a moment of human struggle, perhaps referencing the disillusionment and weariness that come from living under oppressive conditions.

As the rain intensifies, it becomes a metaphor for both destruction and renewal: “The virgin is weeping out in the field behind the stone fence. She’s weeping out there behind wet stones and soldiers.” The rain, personified as Mary’s tears, suggests a cleansing force that both mourns and dissolves the structures of power. Hogan emphasizes this transformative power with the lines: “The rain is working away at human labors. The wall is crumbling.” The crumbling wall symbolizes the erosion of artificial boundaries and divisions—whether physical, ideological, or emotional. This imagery evokes the eventual futility of human efforts to control or contain the natural world and the human spirit.

The poem’s critique of historical and cultural monuments continues: “No more Great Wall of China. No more Pietà.” By referencing the Great Wall, a symbol of both protection and isolation, and Michelangelo’s Pietà, an iconic representation of religious suffering, Hogan suggests that even the most enduring symbols of human achievement and pain are subject to the forces of nature and time. The dismantling of these monuments represents the breaking down of barriers—between nations, between people, and between the sacred and the profane.

Hogan then returns to Mary, but this time she is transformed: “Even Mary is being freed. Get up. Get up. There’s a red lizard on Mary’s shoulder.” The image of Mary being “freed” suggests liberation from her traditional role as a passive, suffering figure. The red lizard, often associated with regeneration and survival in indigenous symbolism, signifies a new, vibrant life emerging from the ruins of old structures. The lizard’s presence on Mary’s shoulder connects the divine with the natural world, blurring the lines between sacred and secular.

The final lines of the poem are a celebration of resilience and renewal: “Along the top of the hill trees are growing out of stone, trees that live with small nourishment, and soldiers are singing and the virgin is laughing. Get up!” The image of trees growing out of stone symbolizes life’s ability to thrive even in the harshest conditions, reflecting the strength and adaptability of both nature and the human spirit. The soldiers, once symbols of rigid authority, are now “singing,” and Mary, once weeping, is now “laughing.” This transformation suggests a world where the oppressive forces have been dismantled, replaced by expressions of joy and life. The repeated imperative “Get up!” is both a literal call to action and a metaphorical urging to rise above despair, to embrace the possibility of change and liberation.

Structurally, "Get Up, Go AWOL!" employs free verse, allowing Hogan to shift fluidly between narrative, dialogue, and reflection. The poem’s tone oscillates between satire, lamentation, and celebration, reflecting the complexity of its themes. The use of direct speech, particularly from the statue of Mary, adds a surreal, almost theatrical element to the poem, while the vivid imagery grounds it in sensory experience.

Thematically, the poem explores the intersections of militarism, religion, and capitalism, critiquing the ways these systems perpetuate violence and oppression. At the same time, Hogan celebrates the resilience of the natural world and the human spirit, suggesting that liberation is possible through a reconnection with the earth and a rejection of hierarchical power structures. The poem ultimately envisions a world where traditional symbols of authority are dismantled, and life—both human and non-human—is free to flourish.

In conclusion, "Get Up, Go AWOL!" is a bold, transformative poem that challenges the reader to reconsider the structures and symbols that shape our lives. Through her dynamic imagery and incisive critique, Linda Hogan dismantles the illusions of power and invites us to embrace the possibilities of renewal and liberation. The poem is a call to action, a celebration of resilience, and a testament to the enduring strength of life in the face of oppression.

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