Classic and Contemporary Poetry: Explained

Linda Hogan’s "Other Voices" explores the tension between societal expectations of composure and the unspoken, often painful, truths that dwell within us. Hogan, a Chickasaw poet deeply concerned with the intersections of identity, environment, and spirituality, frequently addresses the ways in which indigenous experiences and personal histories are suppressed or marginalized. In "Other Voices," she contrasts the artificial boundaries humans construct around their emotions and stories with the unfiltered expressions of the natural world, ultimately suggesting that despite our efforts to conceal or control, the earth—and by extension, our true selves—will always find a way to speak.

The poem begins with a simple observation that encapsulates a profound social commentary: “There are things we do not tell when we tell about weather and being fine.” This line highlights the superficiality of everyday conversations, where polite exchanges about the weather mask deeper, unspoken emotions. The phrase “being fine” is particularly resonant, as it reflects the automatic, often dishonest response people give when asked about their well-being. Hogan immediately sets up a dichotomy between what is said and what remains hidden, suggesting that much of human interaction is characterized by avoidance and repression.

Hogan introduces the idea of “other voices”—those inner truths and stories that remain unspoken. She writes, “Our other voices take sanctuary while police with their shepherds stand guard at the borders of breath lest our stories escape this holy building of ourselves.” This metaphor of police guarding the “borders of breath” evokes a sense of surveillance and control, as if society imposes strict boundaries on what can be expressed. The “holy building of ourselves” suggests that we have constructed protective facades around our identities, treating them as sacred but also fragile structures that must be defended against vulnerability. The mention of police and shepherds implies both external and internal forces of repression—societal expectations as well as personal fears that prevent us from speaking our truths.

The poem then shifts to a reflection on the natural world, contrasting human repression with the uninhibited expressions of animals: “How did we come to be so unlike the chickens clucking their hearts out openly in the rain, the horses just being horses on the hillside, and coyotes howling their real life at the moon?” This comparison underscores the unnaturalness of human silence. While animals live authentically and express themselves freely, humans have become disconnected from their own voices. The chickens, horses, and coyotes symbolize unfiltered existence, each creature embodying a form of honest expression that humans have lost. The “coyotes howling their real life at the moon” is particularly striking, as it suggests a primal connection to the universe, a raw and unapologetic declaration of existence that stands in stark contrast to human reticence.

Hogan acknowledges the personal cost of this repression: “No wonder I am lying in the sagging bed, this body with the bad ankle and fifteen scars showing, and in the heart, my god, the horrors of living.” Here, the physical descriptions—the “bad ankle” and “fifteen scars”—serve as tangible manifestations of the speaker’s lived experiences, while the “horrors of living” in the heart point to the emotional and psychological scars that remain hidden. The juxtaposition of the body’s visible wounds with the heart’s invisible pain emphasizes the dual nature of suffering, both external and internal. Hogan’s raw, unembellished language conveys a sense of exhaustion and resignation, as if the weight of unspoken stories has become too much to bear.

Yet, amid this acknowledgment of pain, Hogan introduces a counterbalance: “And in my veins, dear mother, the beauties of my joyous life, the ribs and skull and being, the eyes with real smiles despite the sockets they live in that know where they are going.” This passage reflects a complex interplay between suffering and joy, suggesting that life’s beauty exists alongside its horrors. The direct address to “dear mother” adds an intimate, almost prayerful tone, as if the speaker is seeking solace or connection through this acknowledgment. The “eyes with real smiles” despite their weary sockets represent resilience, the ability to find genuine moments of happiness even when burdened by the knowledge of life’s inevitable struggles. The mention of “ribs and skull and being” emphasizes the speaker’s embodiment and presence in the world, grounding the poem in the physical reality of existence.

The final section of the poem shifts outward, focusing on the voices of the natural world: “Outside, the other voices are speaking. Pine needles sing with rain and a night crawler with its five hearts beats it across the road.” Here, Hogan personifies elements of nature, suggesting that the earth itself is alive with stories and expressions. The “pine needles sing with rain” evokes a sense of harmony between the natural elements, while the image of the “night crawler with its five hearts” underscores the persistence and vitality of even the smallest creatures. This focus on the earth’s voices reinforces the idea that while humans may silence themselves, the natural world continues to speak freely and authentically.

Hogan concludes with a powerful assertion of the inevitability of expression: “In silence the other voices speak and they are mine and they are not mine and I hear them and I don’t, and even police can’t stop earth telling.” This final line encapsulates the poem’s central theme—that despite human efforts to suppress or control, the truths of existence will always find a way to emerge. The paradoxical phrasing—“they are mine and they are not mine”—suggests that these voices transcend individual experience, connecting the speaker to a larger, universal narrative. The acknowledgment that “even police can’t stop earth telling” affirms the resilience and persistence of both the natural world and the human spirit, suggesting that no external force can completely silence the truth.

Structurally, "Other Voices" employs free verse, allowing Hogan to shift fluidly between personal reflection and broader philosophical musings. The lack of rigid form mirrors the theme of suppressed but ever-present voices, as if the poem itself resists the constraints it describes. Hogan’s use of direct, unadorned language enhances the poem’s raw emotional power, while her vivid imagery bridges the gap between the personal and the universal.

In conclusion, "Other Voices" is a poignant meditation on the tension between societal repression and the enduring power of authentic expression. Through her exploration of the contrast between human silence and the natural world’s uninhibited voices, Linda Hogan invites readers to reflect on their own unspoken truths and the forces that prevent them from being shared. The poem ultimately affirms the resilience of both the individual and the earth, suggesting that while silence may dominate, the other voices—those of nature, memory, and the soul—will continue to speak, offering a path toward healing and connection.

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