【乔伊·哈乔的诗歌及美国原住民文学】
喬伊哈喬(Joy Harjo)
喬伊哈喬是一位克裡克族印地安人,她也是美國原住民作家與藝術家團體的提倡人之一,在過去二十年間,曾屢獲國內與國際的卓越獎項。
她是個劇作家、老師,也是音樂家 – 但她最為人稱道的還是詩作,為他贏得許多珍貴的大獎。她的首本詩作選輯《月亮驅使我去哪裡》(What Moon Drove Me to This,1980),呈現出她有能力論述藏於每天生活之後、深刻的精神層面事實,她在政治與女性議題上以直言不諱著稱,是個神秘的詩人,其潛意識中深藏著美國西南部原住民的靈魂。
哈喬也在提攜其它美國原住民女性作家上,花費很大心力。
Joy Harjo
I release you, my beautiful and terrible
fear. I release you. You were my beloved
and hated twin, but now, I don't know you
as myself. I release you with all the
pain I would know at the death of
my daughters.
You are not my blood anymore.
I give you back to the white soldiers
who burned down my home, beheaded my children,
raped and sodomized my brothers and sisters.
I give you back to those who stole the
food from our plates when we were starving.
I release you, fear, because you hold
these scenes in front of me and I was born
with eyes that can never close.
I release you, fear, so you can no longer
keep me naked and frozen in the winter,
or smothered under blankets in the summer.
I release you
I release you
I release you
I release you
I am not afraid to be angry.
I am not afraid to rejoice.
I am not afraid to be black.
I am not afraid to be white.
I am not afraid to be hungry.
I am not afraid to be full.
I am not afraid to be hated.
I am not afraid to be loved.
to be loved, to be loved, fear.
Oh, you have choked me, but I give you the leash.
You have gutted me but I gave you the knife.
You have devoured me, but I laid myself across the fire.
You held my mother down and raped her,
but I gave you the heated thing.
I take myself back, fear.
You are not my shadow any longer.
I won't hold you in my hands.
You can't live in my eyes, my ears, my voice
my belly, or in my heart my heart
my heart my heart.
But come here, fear
I am alive and you are so afraid
of dying.
Deer Dancer
Joy
Harjo, 1951
Nearly everyone had left that bar in the middle of winter except the hardcore. It was the coldest night of the year, every place shut down, but not us. Of course we noticed when she came in. We were Indian ruins. She was the end of beauty. No one knew her, the stranger whose tribe we recognized, her family related to deer, if that’s who she was, a people accustomed to hearing songs in pine trees, and making them hearts. The woman inside the woman who was to dance naked in the bar of misfits blew deer magic. Henry jack, who could not survive a sober day, thought she was Buffalo Calf Woman come back, passed out, his head by the toilet. All night he dreamed a dream he could not say. The next day he borrowed money, went home, and sent back the money I lent. Now that’s a miracle. Some people see vision in a burned tortilla, some in the face of a woman. This is the bar of broken survivors, the club of the shotgun, knife wound, of poison by culture. We who were taught not to stare drank our beer. The players gossiped down their cues. Someone put a quarter in the jukebox to relive despair. Richard’s wife dove to kill her. We had to keep her still, while Richard secretly bought the beauty a drink. How do I say it? In this language there are no words for how the real world collapses. I could say it in my own and the sacred mounds would come into focus, but I couldn’t take it in this dingy envelope. So I look at the stars in this strange city, frozen to the back of the sky, the only promises that ever make sense. My brother-in-law hung out with white people, went to law school with a perfect record, quit. Says you can keep your laws, your words. And practiced law on the street with his hands. He jimmied to the proverbial dream girl, the face of the moon, while the players racked a new game. He bragged to us, he told her magic words and that when she broke, became human. But we all heard his voice crack: What’s a girl like you doing in a place like this? That’s what I’d like to know, what are we all doing in a place like this? You would know she could hear only what she wanted to; don’t we all? Left the drink of betrayal Richard bought her, at the bar. What was she on? We all wanted some. Put a quarter in the juke. We all take risks stepping into thin air. Our ceremonies didn’t predict this. or we expected more. I had to tell you this, for the baby inside the girl sealed up with a lick of hope and swimming into the praise of nations. This is not a rooming house, but a dream of winter falls and the deer who portrayed the relatives of strangers. The way back is deer breath on icy windows. The next dance none of us predicted. She borrowed a chair for the stairway to heaven and stood on a table of names. And danced in the room of children without shoes. You picked a fine time to leave me, Lucille With four hungry children and a crop in the field. And then she took off her clothes. She shook loose memory, waltzed with the empty lover we’d all become. She was the myth slipped down through dreamtime. The promise of feast we all knew was coming. The deer who crossed through knots of a curse to find us. She was no slouch, and neither were we, watching. The music ended. And so does the story. I wasn’t there. But I imagined her like this, not a stained red dress with tape on her heels but the deer who entered our dream in white dawn, breathed mist into pine trees, her fawn a blessing of meat, the ancestors who never left.
"Remember" by Joy
Harjo
Webtext prepared by Kellie Cruz,
Virginia Commonwealth University
Webtext prepared by Kellie Cruz,
Virginia Commonwealth University
Click on red text for study notes
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Remember ———————————————————————————————————————————— |
Joy Harjo was born in Tulsa, Oklahoma on May 9, 1951, and is a member of the Mvskoke/Creek Nation.
Harjo received a BA degree from the University of New Mexico before earning an MFA from the Iowa Writers Workshop in 1978.
Her books of poetry include
Also a performer, Harjo has appeared on HBO’s Def Poetry Jam in venues across the U.S. and internationally. She plays saxophone with her band Poetic Justice, and has released four award-winning CD’s of original music. In 2009, she won a Native American Music Award (NAMMY) for Best Female Artist of the Year.
Harjo’s other honors include the PEN Open Book Award, the American Indian Distinguished Achievement in the Arts Award, the Josephine Miles Poetry Award, the Mountains and Plains Booksellers Award, the William Carlos Williams Award from the Poetry Society of America, and fellowships from the Arizona Commission on the Arts, the Witter Bynner Foundation, and the National Endowment for the Arts.
Most recently, she received the 2015
Harjo is Professor of English and American Indian Studies at the University of Illinois at Urbana-Champaign. She lives in Tulsa, Oklahoma.

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