Classic and Contemporary Poetry: Explained

Linda Hogan’s “V. Who Will Speak?” is a meditative reflection on humanity’s relationship with nature and the urgent need for voices to advocate for the voiceless creatures of the Earth. Hogan, known for her deep ecological sensibilities and Native American heritage, weaves together natural imagery and spiritual contemplation to highlight the interconnectedness of all life forms and the responsibility humans bear in preserving this balance. The poem’s dedication to Oren Lyons, a prominent Native American leader and environmental activist, further anchors its message in indigenous values of stewardship and respect for the natural world.

The poem opens with a conditional, almost mythic scenario: “If all the animals came from the hills, / if all the fish came from the rivers, / and the birds came down from the sky.” This imagery evokes a vision of a world where nature converges, reclaiming its space and presence. The repetition of “if” suggests a hypothetical, yet deeply desired, return to a harmonious existence where humans recognize their place within the larger web of life. The idea of animals, fish, and birds emerging from their respective domains creates a powerful visual of nature’s forces gathering, as if to remind humanity of its smallness and dependence on the natural world.

Hogan continues, “we would know our lives, small, / somewhere between the mountain and the ant.” This line poignantly captures the humility that arises from recognizing our position in the grand scheme of existence. By situating human life “between the mountain and the ant,” Hogan emphasizes both the vastness of the natural world and the minute details that contribute to its beauty and complexity. This recognition of human smallness is not a diminishment but an invitation to embrace a more respectful and mindful way of living.

The poem shifts from this broad vision to a more personal, grounded reflection: “We would see what we do pass by and return around Earth’s curve.” Here, Hogan suggests that human actions are not isolated but part of a cyclical process that reverberates through the natural world. The idea of actions returning around Earth’s curve underscores the interconnectedness and consequences of human behavior. It implies that what we do to the environment ultimately comes back to affect us, a concept deeply rooted in both ecological science and indigenous wisdom.

Hogan then narrows her focus further: “All I know are these rivers, / the air and wind carving down the trees / with their invisible hands.” This intimate knowledge of the natural elements reflects a deep, personal connection to the environment. The personification of air and wind as having “invisible hands” that “carve down the trees” evokes both the beauty and the vulnerability of nature. The trees, described as “bent figures of old men,” suggest wisdom and endurance, but also the toll that time and environmental forces can take.

The transition to “only the empty space, a longing that passes” introduces a sense of loss and impermanence. This longing reflects the emotional response to witnessing environmental degradation or the disappearance of once-thriving ecosystems. It is a sorrow that speaks to the heart of the poem’s message: the urgent need for advocacy and action.

Hogan explicitly voices this call to action in the line: “And that sorrow says, the animals, who will speak for them?” This rhetorical question serves as the moral and emotional fulcrum of the poem. It directly challenges the reader to consider their role in protecting and preserving the natural world. The question is not merely about advocacy but about the fundamental ethical responsibility to give voice to those who cannot speak for themselves.

The next lines delve into the power of language and its potential to create change: “Who will make houses of air with their words?” This metaphor suggests that words, though intangible, can provide shelter and protection. The “houses of air” imply that language, when used thoughtfully and powerfully, can offer refuge and support for the natural world. It is a call for poets, storytellers, and activists to use their voices as tools of preservation and defense.

Hogan continues with a profound reflection on the interconnectedness of language and nature: “And the mouth of a man, the tongue that belongs to grass and light / and the four-legged creatures.” This imagery blurs the boundaries between human and non-human, suggesting that our very ability to speak and express is inherently tied to the natural world. The tongue belonging to “grass and light” implies that our words are not separate from the environment but arise from it, carrying the essence of the Earth within them.

The poem then shifts to a more hopeful and visionary tone: “He speaks of tomorrow / He gives voice to the small animals. / He gives a seat to the eagles. / Words for the fish. / The golden light of creation.” Here, Hogan envisions a figure—perhaps a poet, an activist, or a spiritual leader—who embodies the responsibility of speaking for nature. This person not only advocates for “the small animals” but also elevates the majestic eagles and the often-overlooked fish. The phrase “golden light of creation” suggests a divine or sacred quality to this act of advocacy, framing it as part of the larger, ongoing process of creation and renewal.

The repetition of “Light. Lumine.” serves as both a literal and symbolic illumination. Lumine, derived from Latin, reinforces the idea of enlightenment and clarity. This light is not just physical but also metaphorical, representing the awakening of consciousness and the clarity of purpose in protecting the natural world.

Hogan concludes with a tender, almost incantatory plea: “The world returns. / I do not want to break this spell. / I do not want the words to fall away. / I do not want to break this spell.” The repetition here emphasizes the fragility of this moment of awareness and connection. The spell represents the delicate balance between humanity and nature, a harmony that Hogan fears could easily be disrupted. By anchoring the poem in this refrain, she underscores the preciousness of this interconnectedness and the need to sustain it through mindful language and action.

Structurally, the poem flows like a gentle river, with its free verse form allowing for a natural, conversational tone that mirrors the organic themes it explores. The lack of rigid punctuation and the fluid transitions between ideas reflect the seamless connections between human and non-human, language and environment. Hogan’s use of repetition, particularly in the closing lines, creates a rhythmic, almost hypnotic effect that reinforces the poem’s meditative quality.

The dedication to Oren Lyons, a Faithkeeper of the Turtle Clan of the Onondaga Nation and a renowned advocate for indigenous rights and environmental justice, situates the poem within a broader context of indigenous activism. Lyons’ work emphasizes the importance of honoring the Earth and recognizing the interconnectedness of all life—a philosophy that deeply resonates throughout Hogan’s poem.

In “V. Who Will Speak?” Linda Hogan crafts a poignant and urgent meditation on the necessity of giving voice to the natural world. Through rich imagery, spiritual reflection, and a heartfelt call to action, she invites readers to recognize their role as stewards of the Earth. The poem serves as both a lament for what has been lost and a hopeful vision for a future where words and actions align to protect and honor the intricate web of life that sustains us all.

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