Classic and Contemporary Poetry: Explained

Linda Hogan’s "Those Who Thunder" is a powerful, rhythmic call to resistance, blending personal, cultural, and political rebellion into a unified expression of defiance against oppression and exploitation. Known for her deep engagement with themes of indigenous identity, environmental interconnectedness, and the resilience of marginalized communities, Hogan channels the energy of collective action in this poem. The repeated imagery of thunder, drumming, and pounding feet creates a sense of momentum, as if the very language of the poem is marching toward transformation. Through vivid metaphors and a tone that oscillates between anger and empowerment, Hogan illustrates how everyday people can become forces of change, shaking the foundations of unjust systems.

The poem opens with a cryptic yet compelling image: “Those who thunder have dark hair and red throw rugs.” This line introduces “Those Who Thunder” as both a collective identity and a symbol of resistance. The “dark hair” could be a nod to indigenous heritage, while “red throw rugs” evoke domestic spaces, grounding this act of rebellion in the ordinary, intimate settings of people’s homes. The juxtaposition of the mundane with the elemental—“thunder”—sets the tone for the poem’s exploration of how everyday acts and individuals carry immense power.

The subsequent lines describe acts of quiet rebellion: “They burn paper in bathroom sinks. / Their voices refuse to suffer / and their silences know the way straight to the heart; / it’s bus route number eight.” The act of burning paper in sinks suggests a symbolic purging or destruction of oppressive documents—perhaps bills, eviction notices, or other markers of systemic control. The refusal of their voices to suffer signals a rejection of victimhood, while the power of their silences implies that even their quiet moments carry weight. The reference to “bus route number eight” grounds this resistance in a specific, urban context, suggesting that rebellion is woven into the fabric of everyday life, moving through the city like a pulse.

Hogan continues to build on this theme of resistance through song and movement: “They sing all day. / They drum and at night they put on their shawls / and dance thundering on wooden floors, / the feet saying no more no more.” The image of people singing and drumming reflects the importance of cultural expression as a form of defiance and solidarity. The “shawls” could signify traditional garments, linking the act of dancing to cultural heritage and identity. The “thundering on wooden floors” evokes the sound of collective movement, a physical manifestation of their refusal to endure oppression any longer. The feet “saying no more no more” personifies their actions, emphasizing that resistance is communicated not just through words but through the body itself.

The poem shifts focus to those on “floor number one who are scrubbing,” suggesting that even the most marginalized, those performing the most menial tasks, are awakening to their power: “put down the gray cloth and beat on the tiles.” This act of putting down cleaning tools and turning them into instruments of resistance symbolizes a rejection of subservience. The “gray cloth” and “tiles” represent the drudgery of labor, but when repurposed, they become part of the collective uprising.

Hogan’s tone becomes increasingly defiant as the poem addresses the broader systems of control: “Take notice we are done with your scrubbing and gluing together your broken stones / and with putting the open sign around the neck of night / and bolting the sun to save your warehouse from thieves and crooks.” These lines critique the endless, futile labor imposed by capitalist systems, where people are tasked with maintaining broken structures that do not serve their interests. The image of “putting the open sign around the neck of night” suggests exploitation that extends into all hours, while “bolting the sun” speaks to the unnatural lengths to which people go to protect the interests of the powerful. The “warehouse” represents the accumulation of wealth and goods that benefit a few while the workers remain oppressed.

The poem directly challenges those in power, particularly political leaders: “You could say the sky is having a collapse, you could say it’s our thunder. / Explain to the president why I am beating on the floor / and my name has been changed to Those Who Thunder.” Hogan blurs the line between natural phenomena and human action, suggesting that the uprising is as inevitable and forceful as a thunderstorm. The demand to “explain to the president” highlights the disconnect between those in power and the people they govern, while the declaration that the speaker’s “name has been changed to Those Who Thunder” signifies a transformation of identity through collective resistance.

The poem continues its defiant tone with a list of grievances and actions: “Tell him through the storm windows. / Those are fists he hears pounding. / Tell him we are returning all the bad milk to the market.” The “storm windows” symbolize both protection and separation, suggesting that those in power are insulated from the consequences of their actions. The “fists” pounding are not just physical blows but symbolic expressions of frustration and demand for change. Returning “all the bad milk to the market” represents a refusal to accept substandard conditions and a demand for accountability.

Hogan critiques the exploitation of the working class with the lines: “Tell them all we won’t put up with hard words and low wages one more day.” This direct statement underscores the poem’s focus on labor rights and the emotional toll of economic oppression. The poem also challenges the empty promises of religious and political ideologies: “Those meek who were blessed are nothing but hungry, / no meat or potatoes, never salsa or any spice.” This line subverts the biblical notion of the meek inheriting the earth, highlighting the gap between promised blessings and lived realities. The absence of “salsa or any spice” suggests not just a lack of sustenance but also a lack of joy and cultural richness, further emphasizing the dehumanizing effects of poverty.

The poem builds to its climax with a powerful acknowledgment of the existing burdens on the poor: “Those poor who will inherit the earth already work it.” This line underscores the injustice of a system that promises future rewards to those who are already toiling without fair compensation. The final call to action is both a warning and a declaration: “so take shelter, take shelter you, / because we are thundering and beating on floors / and this is how walls have fallen in other cities.” The repetition of “take shelter” serves as both a literal and metaphorical command, suggesting that those in power should fear the rising tide of resistance. The reference to walls falling in other cities evokes historical revolutions and uprisings, situating the poem within a broader context of social change.

Structurally, "Those Who Thunder" employs free verse with a rhythmic, almost incantatory quality that mirrors the sound of drumming and pounding. Hogan’s use of repetition, vivid imagery, and direct address creates a sense of urgency and momentum, drawing the reader into the collective experience of resistance. The poem’s conversational tone, combined with its rich metaphors, makes it both accessible and deeply resonant.

Thematically, the poem explores resistance, identity, and the transformative power of collective action. Hogan critiques the systems of capitalism, militarism, and political oppression that exploit and dehumanize, while celebrating the resilience and strength of those who rise up against these forces. The poem emphasizes the importance of reclaiming cultural identity and solidarity, suggesting that true power lies in the unified voices and actions of everyday people.

In conclusion, "Those Who Thunder" is a bold, rhythmic anthem of resistance and empowerment. Through vivid imagery, cultural references, and a relentless beat, Linda Hogan captures the spirit of collective uprising and the transformative potential of ordinary people when they refuse to remain silent. The poem serves as both a critique of oppressive systems and a celebration of the human spirit’s capacity to thunder against injustice, reminding readers that even the most entrenched walls can fall when faced with unified, determined resistance.

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