Classic and Contemporary Poetry: Explained

Nila NorthSun’s "99 Things to Do Before You Die" offers a sharp, witty critique of societal expectations and the disconnect between mainstream media’s portrayal of a fulfilling life and the realities faced by marginalized communities. NorthSun, known for her straightforward, unembellished style, brings her characteristic humor and honesty to this poem, using it as a vehicle to examine the cultural and economic disparities that shape people’s experiences and aspirations. The poem’s conversational tone and lack of traditional structure—no capitalization, minimal punctuation, and free-flowing lines—underscore its casual, almost offhand delivery, making the deeper commentary feel both accessible and poignant.

The poem begins with a reference to Cosmopolitan magazine, a publication emblematic of mainstream, often middle-to-upper-class, consumer culture. The speaker notes that she has completed 47 of the 99 items on Cosmo’s list, or at least her "version of them." This phrase immediately signals a divergence between the idealized activities promoted by the magazine and the speaker’s lived reality. Simple pleasures like "make love on the forest floor," "spend a day in bed reading a good book," and "sleep under the stars" are framed as attainable and meaningful, yet even these are subtly reinterpreted through the lens of personal experience. The line "learn not to say yes when you mean no" stands out as both a life lesson and a quiet act of resistance, hinting at the broader theme of self-assertion in the face of societal pressures.

However, as the speaker moves through the list, it becomes clear that many of Cosmo’s suggestions are inaccessible to those without significant financial means. The shift from relatable experiences to extravagant ones like "dive off a yacht in the aegean," "buy a round-the-world air ticket," and "go to monaco for the grand prix" highlights the inherent class bias in such lists. The blunt observation, "and we certainly know / you don't have to be rich before you die," serves as both a critique of the magazine’s obliviousness and a reminder of the diverse ways people find fulfillment outside of wealth. The speaker’s wry acknowledgment of these unattainable goals—“sure would love to but / no maza-ska / money honey”—adds a layer of humor while reinforcing the economic barriers that shape people’s possibilities. The use of "maza-ska," a Lakota term meaning "white metal" or money, situates the poem firmly within a Native American cultural context, subtly reminding the reader of the systemic inequities faced by Indigenous communities.

Faced with this disparity, the speaker proposes creating a list that is "more culturally relevant." What follows is a rich, textured inventory of experiences grounded in Native American culture and community life. Activities like "go 49ing at crow fair," "learn to make good fry bread," and "watch a miwok deer dance" reflect traditions and practices that are deeply meaningful within Indigenous contexts but are often invisible or undervalued in mainstream narratives. The inclusion of both personal and communal acts—“give your gramma a rose and a bundle of sweet grass,” “chop wood for your grandpa,” “participate in a protest”—underscores the interconnectedness of individual fulfillment and community responsibility.

There’s a playful, self-aware humor in lines like "fall in love with a white person / fall in love with an indian," which simultaneously acknowledges the complexities of interracial relationships and pokes fun at the universality of romantic entanglements. Similarly, the juxtaposition of intimate moments—“make love in a tipi,” “curl up in bed with a good indian novel / better yet / curl up in bed with a good indian novelist”—with practical, everyday tasks like “recycle” and “grow a garden” reflects the multifaceted nature of a life well-lived. NorthSun’s list doesn’t romanticize or idealize; instead, it embraces the full spectrum of human experience, from the mundane to the profound.

The poem’s structure mirrors its thematic content. The free-verse form, with its flowing, unpunctuated lines, mimics the casual, spontaneous feel of a conversation or a journal entry. This stylistic choice enhances the intimacy of the poem, drawing the reader into the speaker’s thought process and inviting them to reflect on their own life experiences. The repetition of certain phrases, such as "say something nice everyday to your mate / say something nice everyday to your children," emphasizes the importance of small, consistent acts of kindness and connection, reinforcing the idea that a meaningful life is built on everyday moments rather than grand, expensive gestures.

As the poem nears its conclusion, the speaker reflects on her readiness to face death: "at this rate / i'm ready to die anytime / not much left undone." This declaration carries a dual resonance. On one hand, it suggests a sense of contentment and completeness, a life rich with experiences that matter. On the other hand, it hints at the premature mortality often faced by marginalized communities due to systemic inequalities. The casual tone of this statement belies its deeper implications, challenging the reader to consider what it truly means to live a full life.

The final lines introduce a touch of lingering desire for the glamorous, unattainable experiences Cosmo champions: "though cosmo's / have an affair in paris while / discoing in red leather and sipping champagne / could find a place on my list." This playful admission acknowledges that, despite the speaker’s grounded, culturally rich life, the allure of adventure and extravagance still holds some appeal. However, the tongue-in-cheek tone ensures that this desire doesn’t overshadow the poem’s central message: that fulfillment and meaning are not confined to wealth or mainstream ideals.

In "99 Things to Do Before You Die," NorthSun deftly balances humor and critique, personal reflection and cultural commentary. The poem serves as both a rejection of consumer-driven definitions of a life well-lived and a celebration of the richness found in everyday, culturally grounded experiences. Through its unpretentious language and candid tone, the poem invites readers to reconsider their own aspirations and the societal forces that shape them, ultimately suggesting that true fulfillment lies in authenticity, community, and connection rather than material wealth or exotic adventures.

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