An American Sunrise

The use of “we” as the first word sets a strong opening tone for the communal aspect in this poem. But it quickly expands into more than just a group of individuals who are simply enjoying one another’s company in the present moment—it becomes a necessary coping mechanism to protect themselves and their ancestors from the outside forces of injustice and defamation. Though there are moments of danger and threat present in the tone of the language, the communal “we” is always there to create a haven of security and trust in the voice. The first line, “We were running out of breath, as we ran out to meet ourselves,” exemplifies this notion, as the idea of “running out of breath” implies a certain exhaustion and fatigue, but it is immediately restored by the group’s ability to gather and “meet ourselves” (Line 1). The members of this community are tired of running away from whatever problems they are facing, so instead they run together and find solace in each other’s company when amongst themselves.

Though indirect, the context of being on a Native reservation (subtly indicated in the third line when the speaker says “in the Indian bar”) shows that this poem takes place on land that has suffered over centuries from violent oppression and genocide. It’s no secret that US history largely includes atrocities against the Native American population, and by centering this poem in the heart of an “Indian” space (Line 3), it lets the reader know that simply by existing, the people here are enacting a form of resistance and resilience against their historical erasure.

As the poem progresses, the drinking of “gin” and the volume of the music increases (Line 9), and the feeling of joy and optimism washes out the negative stereotypes that are ascribed to the Native population by “Christians” (Line 7). As an Indigenous American—and fueled by the strength and unfiltered joy of her people—the speaker is resisting the toxicity America has given her and refuses to accept erasure: “I filled the jukebox with dimes in June, / forty years later and we still want justice. We are still America” (Lines 12-13). Rather than succumbing to misery and hopelessness, “we” rally around their traditions (“our ancestors’ fights” [Line 2]), using their games of pool and their unbridled dancing to declare themselves alive and an undying part of the American fabric.

The term “spirits” has a double meaning in this poem: It takes on the ancestral element of a historical past, as well as the alcohol that fuels the potential for liveliness and gregarious joy. The notion of taking on “our ancestors’ fights” (Line 2) implies a willingness to carry on tradition—in a physical and perhaps even confrontational manner, if necessary, but also in a spiritual way. There is an implication that by “surfacing the edge” of elder spirits and “ready to strike” on their behalf (Line 2), there is a bond forged between the physical and spiritual worlds, which allows for a higher understanding of what the ancestors are calling for, and what they are worthy of from those still living. The speaker later returns to this celestial notion of lineage when she says, “And some of us could sing / so we drummed a fire-lit pathway up to those starry stars” (Lines 5-6), implying a ceremonial element of using music as a form of communication to reach another state of knowing, somewhere far above her.

However, it’s not only the traditional sense of spirits that this poem invokes; there is also a frequent reference to alcohol as a form of understanding the self and the “we.” Lines 3-4 present the complex relationship between Native Americans and drinking, when the speaker reveals: “It was difficult to lose days in the Indian bar if you were straight. / Easy if you played pool and drank to remember to forget.” The lines suggest that the alcohol inside the “Indian bar” allows those participating to both enjoy the present and forget the past, which seems empowering in this context. By setting this poem inside the “Indian bar,” there is also an innate implication that alcohol becomes a central theme for the “we.”

Additionally, there are major stereotypes about Native Americans and their drinking habits, so by entering this territory, the speaker is evincing a high self-awareness. But rather than suffering further from depression or anger, the poem becomes enlivened by the liquor, evident when the speaker says, “We knew we were all related in this story, a little gin / will clarify the dark and make us all feel like dancing” (Lines 9-10). The “gin” comes in “little” amounts and helps to “clarify the dark” and encourages dancing—typically seen as a public form of celebration and happiness. In this sense, the alcohol is taken in a controlled environment and yields positive community among a group of people who are otherwise castigated for their drinking. It turns a negative into a positive.