Classic and Contemporary Poetry: Explained

James Welch’s "Blackfeet, Blood and Piegan Hunters" is a powerful meditation on the loss of cultural identity, the erosion of tradition, and the complex relationship between myth and reality in Native American history. Welch, a member of the Blackfeet and Gros Ventre tribes, often wrote about the struggles of Indigenous communities navigating a world shaped by colonization, forced assimilation, and historical trauma. In this poem, he confronts the dissonance between the romanticized past and the present realities faced by Native peoples, weaving together themes of disillusionment, survival, and the persistence of memory.

The poem begins with an evocative image: “If we raced a century over hills that ended years before, people couldn't say our run was simply poverty or promise for a better end.” This line establishes a metaphorical journey through time, suggesting that the cultural and historical trajectory of the Blackfeet, Blood, and Piegan tribes has already reached a kind of conclusion. The hills that ended years before symbolize traditions or ways of life that no longer exist, yet the race continues, hinting at the inertia of cultural survival despite historical disruption. Welch rejects simplistic interpretations of this endurance as either mere poverty or blind hope for a better end, implying that the story of these communities is more complex than narratives of victimhood or optimism.

“We ended sometime back in recollections of glory, myths that meant the hunters meant a lot to starving wives and bad painters.” Here, Welch critiques the glorification of the past, particularly the mythologizing of Indigenous hunters as noble figures. These recollections of glory may have once served to sustain communities—providing meaning to starving wives who depended on the hunters for survival—but they have also been appropriated and distorted by bad painters, a likely reference to non-Native artists who romanticized Indigenous life while ignoring its realities. This dual function of myth—as both a source of cultural pride and a tool for external exploitation—sets the stage for the poem’s deeper exploration of identity.

The line “Let glory go the way of all sad things” serves as a turning point in the poem. It suggests a deliberate rejection of nostalgia and an acknowledgment that clinging to past glories can be as damaging as forgetting them altogether. This sentiment reflects a broader tension within Indigenous communities between preserving tradition and adapting to contemporary realities.

Welch continues by emphasizing the need for a new kind of narrative: “Children need a myth that tells them be alive, forget the hair that made you Blood, the blood the buffalo left, once for meat, before other hunters gifted land with lead for hides.” This passage highlights the generational shift in how identity is understood and transmitted. The hair that made you Blood refers to the physical markers of tribal identity, specifically the Blood tribe of the Blackfoot Confederacy. Welch suggests that such superficial signifiers are insufficient for sustaining a meaningful connection to the past. Instead, children need stories that affirm life and resilience in the present.

The poem also contrasts the traditional relationship with the buffalo—a vital source of sustenance and spiritual significance—with the exploitative hunting practices introduced by settlers. The phrase “before other hunters gifted land with lead for hides” underscores the destructive impact of commercial buffalo hunting, which decimated herds and disrupted the ecological and cultural balance that Indigenous peoples had maintained for generations.

In the next section, Welch portrays the hollow remnants of cultural practices: “Comfortable we drink and string together stories of white buffalo, medicine men who promised and delivered horrible cures for hunger, lovely tales of war and white men massacres.” The tone here is both sardonic and mournful. The white buffalo—a sacred symbol of hope and renewal—is reduced to a topic of idle storytelling, while the medicine men who once held revered positions are remembered for horrible cures that failed to alleviate suffering. The juxtaposition of lovely tales with war and white men massacres further emphasizes the dissonance between romanticized history and harsh reality.

The poem’s imagery becomes even more haunting as Welch describes the present state of Indigenous culture: “Meaning gone, we dance for pennies now, our feet jangling dust that hides the bones of sainted Indians.” This line critiques the commodification of Native traditions, where cultural practices like dance are performed for the entertainment of outsiders rather than as expressions of spiritual or communal significance. The dust that hides the bones of sainted Indians serves as a poignant metaphor for the layers of history and loss that lie beneath these superficial displays. The sainted Indians are those who are venerated in memory but whose lives and struggles have been obscured or forgotten.

“Look away and we are gone. / Look back. Tracks are there, a little faint, our song strong enough for headstrong hunters who look ahead to one more kill.” The closing lines underscore the precariousness of cultural survival. The statement “Look away and we are gone” speaks to the invisibility of Indigenous peoples in mainstream society, suggesting that their presence and contributions are often overlooked or dismissed. However, the faint tracks and the enduring song signify that despite erasure, traces of history and identity persist. The headstrong hunters who look ahead to one more kill may represent those within the community who continue to fight for cultural preservation, even as they grapple with the weight of historical trauma.

Structurally, the poem’s free verse mirrors the fluidity of memory and the fragmented nature of cultural identity in the face of colonization. The lack of strict form allows Welch to move seamlessly between past and present, myth and reality, highlighting the interconnectedness of these elements. The conversational tone, combined with vivid imagery and poignant reflections, draws the reader into the lived experience of the speaker and the community he represents.

At its core, "Blackfeet, Blood and Piegan Hunters" is a meditation on the complexities of cultural memory and identity in the aftermath of colonization. James Welch grapples with the tension between honoring the past and confronting the realities of the present, critiquing both the romanticization of Indigenous history and the commodification of cultural practices. Through his nuanced exploration of myth, survival, and resilience, Welch offers a powerful commentary on the enduring struggle to maintain a sense of self and community in a world that has often sought to erase both. The poem stands as a testament to the strength of Indigenous voices and the importance of reclaiming narratives that affirm life, identity, and the ongoing journey of cultural survival.

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