I disagree with the argument that
the poem does not reflect dystopian ideals. The speaker is unable to forgive
until conditions have been met, although they are unlikely to be fulfilled. I
further disagree with the statement that the poem lacks a dystopian tone based
on the last two lines of the poem, “I must forgive and so I shall when I am
dancing with my tribe during the powwow at the end of the world.” The speaker
is not saying this with rejoice, but rather complacently. The speaker has come
to the understanding that he has no choice but to accept his fate. He is stuck
in a hopeless situation and realizes that he should simply accept his fate, so
he chooses to when “dancing with [his] tribe.”
It is also important to look at the
rhetorical devices employed by the author and how they enhance his argument.
The most apparent device is the use of anaphora, repetition of the same word or
phrase at the beginning of each sentence. The repetition allows the audience to
understand the speaker’s sense of despair and the inevitability of his situation.
He continues with reasons for which he will forgive, almost solidifying the
audience’s understanding that the previous will never actually occur. Alexie uses
the point of view of the poem, a single Native American, to speak for the
entire Native American population to which the suppressive force of
governmental systems has shafted, and combined with the historical context of
the poem employs pathos. The symbols of the dam and the salmon directly
correlate to the rigid, structured government and the free-spirited Native American
culture, respectively.
I think the most interesting
comment made though, is that while the poem contains many dystopian themes, it is not
foreshadowing an “end of the world”, but rather reflecting upon one. While
Alexie speaks of Native American life on a reservation, this poem can be easily
applied to early Native American and US Government encounters. It almost
creates the idea that the world is ending, because it has been deteriorating
for so long.
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