Joy Harjo

"Everything is about — I think even — all the teachings, ultimately, wind up — the stories, everything — wind up at a point of harmony. And when you wind up at that point, everything will be reckoned with."

"A lot of images [of Native Americans] are based on fairy tales or Wild West shows. We are human beings, not just people who have been created for people’s fantasy worlds. There’s not just one Native American. We’re diverse by community, by land, by language, by culture. In fact, we go by our tribal names, and there are 573 tribal nations."

"It’s about learning to listen, much like in music. You can train your ears to history. You can train your ears to the earth. You can train your ears to the wind. It’s important to listen and then to study the world, like astronomy or geology or the names of birds. A lot of poets can be semihistorians. Poetry is very mathematical. There’s a lot in the theoretical parts that is similar. Quantum physicists remind me of mystics. They are aware of what happens in timelessness, though they speak of it through theories and equations."

"I can remind people that they use poetry, go to poetry, frequently, and may not even know they are. A lot of song lyrics are poetry. They go to poetry for a transformational moment, to speak when there are no words to speak."

"I always play or perform music with my poetry. When poetry came into the world, it did not arrive by itself, but it came with music and dance."

"Audiences for poetry are growing because of the turmoil in our country–political shifts, climate shifts. When there’s uncertainty, when you’re looking for meaning beyond this world–that takes people to poetry. We need something to counter the hate speech, the divisiveness, and it’s possible with poetry."

"Every poem has so many poetry ancestors. How can we construct a poetry ancestor map of America that would include and start off with poetry of indigenous nations? Those strands would continue into the present with the wonderful young Native poets we have right now. I guess what strikes me is the diversity—the diversity of Native poetry, which was here and is here and is still growing, and the diversity of American poetry, which has roots all over the world—and I’ve always wanted to show that, ultimately, there’s a root system that’s connected all over the Americas, which is one body and all over the world. A healthy ecosystem is a system of diversity. That’s the same thing in poetry, different poetry streams. It’s the same thing with peoples in a country."

"America has always been multicultural, before the term became ubiquitous, before colonization, and it will be after."

"We must know the mythic structures that define us."

"There were no Native names in the American book of poetry when I began writing poetry, though there are many."

"Each of us is descended from poetry ancestors. It’s the same for any art, any occupation. There is a lineage of style, knowledge and culture passed from generation to generation, one artist to another. Ultimately all poetry is related in the family tree of poetry…"

"Poetry is the art that is closest to music, standing between music and narrative orality (which can be speechmaking, sermon or theater). Poetry is the voice of what can’t be spoken, the mode of truth-telling when meaning needs to rise above or skim below everyday language in shapes not discernible by the ordinary mind. It trumps the rhetoric of politicians. Poetry is prophetic by nature and not bound by time. Because of these qualities poetry carries grief, heartache, ecstasy, celebration, despair, or searing truth more directly than any other literary art form. It is ceremonial in nature. Poetry is a tool for disruption and creation and is necessary for generations of humans to know who they are and who they are becoming in the wave map of history. Without poetry, we lose our way."

"We're all putting energy out whatever we're doing... we're in a constant stream of energy, and we're either singing or making noise. (2009)"

"We are all born within a familial stream of connection. It grows us and in turn we feed it. We live in give and take. That's basic human law, and many indigenous cultures still consciously practice it. (2009)"

"Children are considered the continuance of life. They are spirits who have come to share the world with us. We have a responsibility to nurture their gifts, to teach them. A ceremony or gathering cements the relationship and responsibilities. The over-culture has infantilized children and the experience of children. And the over-culture keeps us as children so we do not question consumption and the needs of our souls. (Over-culture is a term I created to name the false culture that traps us economically, whose products do not feed our souls with filling cultural song-story-art food.) (2009)"

"For me, dancing has always meant the ability to move about in the world without question. (2009)"

"(What advice do you have for minority writers who are fighting to be heard or who are struggling for legitimacy in American literature?) Remember that you are born with gifts that need to planted and grown. This "American" culture is young and rootless. It is adolescent with an adolescent sense of time and place that is "here and now," with no reference or power rooted in the earth, ancestors, or historical and mythical sense. Value your community and what that has to offer and continue to reach out beyond what you know to grow fresh ideas, meetings between borders, new roots. (2008)"

"(What thoughts do you have for young and new writers coming up?) Those who write are assisting in constructing the next world, the next consciousness. Be open, aware, and study. Study with all parts of your being, not just your intellect. Some of your knowledge may come from books, most of it from other sources. Always allow yourself to be surprised. And, write. (2008)"

"Yes, we're still struggling to have a place here, though, ironically, we have a place. It's the fearful ones who try and keep us out who are still looking for a place. (2008)"

"Earth is larger than humans in size and consciousness. We're guests on this earth. Humans are just part of a larger creation. If it so happens we were given dominion, or males were-and I don't believe this at all and it's one reason I walked away from the church at thirteen-then we certainly won't have it next time around. We've done nothing but rape the earth of its resources and don't even turn around. We forget to say thank you. (2005)"

"(What do you believe/feel/know lies at the heart of your body of work?) JH: Compassion. Joy. (2003)"

"Really, all poetry is a prayer, you have to go to the center place, inside you, to write poetry. (1994"

"...it is what we are made of, the stories that we carry with us. Stories create us. We create ourselves with stories. Stories that our parents tell us, that our grandparents tell us, or that our great-grandparents told us, stories that reverberate through the web. (1994)"

"In the middle of all the tension and destruction, there is a laughter of absolute sanity that might sound like someone insane. Maybe laughter is the voice of sense. I always tell my students that you cannot take everything too seriously because at will kill you. If you carry bitterness and hatred around, it gives you arthritis, rheumatism, cancer. Certainly, I have to be aware of everything that is happening, but I can't let it kill me. (1994)"

"Alcoholism is an epidemic in native people, and I write about it. I was criticized for bringing it up, because some people want to present a certain image of themselves. But again, it comes back to what I was saying: part of the process of healing is to address what is evil. Evil causes disease, when something isn't settled. The very process of the healing is talking about it and recognizing it. Alcoholism is hiding, it comes out of an inability to speak. (1994)"

"...you pick up the saxophone again, I suppose it's like writing poetry, you are picking up the history of that. Playing saxophone is like honoring a succession of myths. I never thought of this before but: the myth of saxophone and here comes Billie Holiday and there's Coltrane. I love his work dearly, especially "A Love Supreme." That song has fed me. And all of that becomes. When you play you're a part of that, you have to recognize those people. (1993)"

"(In the dedication to In Mad Love and War you affirm that "the erotic belongs in the poetry, as in the self." Can you elaborate?) It has taken me years to divest myself of Christian guilt, the Puritan cloud that provides the base for culture in this country... or at least to recognize the twists and turns of that illogic in my own sensibility. In that framework the body is seen as an evil thing and is separate from spirit. The body and spirit are not separate. Nor is that construct any different in the place from which I write poetry. There is no separation. (1993)"

"I'm already tired of hearing about this madman Columbus and discovery. Yet, this quincentenary is important because crucial attention is being paid to the indigenous peoples of this america. I say there never was an "encounter." To have an encounter would be quite a groundbreaking event! That would require Euro-Americans and Europeans to meet native peoples with respect. I don't know that it's ever been done. There was always a hidden agenda, a hierarchy in which the lives of native peoples were counted as worthless, as were the cultures. What a tremendous loss for everyone! (1992)"

"I truly feel there is a new language coming about-look at the work of Meridel LeSueur, Sharon Doubiago, Linda Hogan, Alice Walker - it's coming from the women. Something has to be turned around. (1990)"

"I want to have some effect in the world; I want my poetry to be useful in a native context as it traditionally has been. In a native context art was not just something beautiful to put up on the wall and look at; it was created in the context of its usefulness for the people. (what do you hope your poems do?) JH: I hope that on some level they can transform hatred into love. Maybe that's being too idealistic; but I know that language is alive and living, so I hope that in some small way my poems can transform hatred into love."

"Poetry has given me a voice, a way to speak, and it has certainly enriched my vision so that I can see more clearly."

"Many people assume that all Indian people lived a long time ago in a certain in a certain way and wore certain clothes, so if you don't look like that now, you're not really Indian people; but all cultures change. In our case, the change has certainly been abrupt and shocking, and we have had to a struggle to maintain the heritage within that terrible upheaval...Maybe all artists now must struggle to understand the connections between the world of heritage and the present world. Those worlds certainly do converge and maybe poems are points of convergence or, in some sense, paintings of that convergence. Maybe the artist has always worked to find those connections, but I think the struggle is especially important in these difficult times when the illusion of separation among peoples has become so clear...*For me the illusion is that we're separate. That's the illusion."

"I think the natural movement of love is an opening, a place that makes connections...You have to be open in that way to write a poem that really works, and I think there's always love involved in the act of creation."

"There's an incredible relationship of guilt between native people and white Americans. It's an odd relationship. Many white Americans think native people have special spiritual knowledge or know certain tricks. Certainly there are some people who are more in touch with those things than others, but we all have prayer. Prayer was not just designated to native people, and there are no special spiritual qualities designated for native people. Of course, at one point we were all tribal people. Europeans were tribal people; all around the world the roots of all human beings were tribal."

"In the beginning when I was writing poetry, a poem had definite limits--I started out knowing definitely what I wanted to begin and end with, or one particular image that I wanted to stay with. Now I feel that my poems have become travels into that other space."

"I don't see time as linear. I don't see things as beginning and ending. A lot of people have a hard time understanding native people and native patience-they wonder why we aren't out marching to accomplish something. There is no question that we have had an incredible history, but I think to understand Indian people and the native mind you have to understand that we experience the world very differently. For us, there is not just this world, there's also a layering of others. Time is not divided by minutes and hours, and of everything has presence and meaning within this landscape of timelessness."

"People often forget that everything they say, everything they do, think, feel, dream, has effect, which to me is being Indian, knowing that. That's part of what I call "being Indian" or "tribal consciousness.""

"I realize writing can help change the world. I'm aware of the power of language which isn't meaningless words.... Sound is an extension of all, and sound is spirit, motion...Everything, anything that anybody says, it does go out and makes change in the world."

"The world is not disconnected or separate but whole. All persons are still their own entity but not separate from everything else-something that I don't think is necessarily just Native American, on this particular continent, or only on this planet. All people are originally tribal, but Europeans seem to feel separated from that, or they've forgotten it. If European people look into their own history, their own people were tribal societies to begin with and they got away from it. That's called "civilization."

"It seems es that the Native American experience has often been bitter. Horrible things have happened over and over. I like to think that bitter experience can be used to move the world, and if we can see that and work toward that instead of killing each other and hurting each other through all the ways that we have done it. (The world, not just Indian people, but the world.) JH: Sure, because we're not separate. We're all in this together. It's a realization I came to after dealing with the whole half-breed question. I realized that I'm not separate from myself either, and neither are Indian people separate from the rest of the world."

"It's like this, living is like a diamond or how they cut really fine stones. There are not just two sides but there are so many and they all make up a whole."

"Political means great movers. To me, you can define political in a number of ways. But I would hope it was in the sense that it does help move and change consciousness in terms of how different peoples and cultures are seen, evolve."

"Joy Harjo is one of the more powerful voices among the second generation of the so-called Native American Renaissance, the movement that arose in the late 1960s with N. Scott Momaday, James Welch]], and Leslie Marmon Silko. Through these works, extraordinarily innovative in content but also in form, these Indian writers for the first time bore witness directly to their native world, interpreting it from within and freeing it from the portrayals by white writers that had been at best ambivalent, if not thoroughly distorted. The arduous, agonizing reconstruction of the tribal past, the dramatic confrontation with white civilization, the existential and artistic itinerary through present-day America, the shady liminal area inhabited by mixed-bloods-such are the major themes of a literary corpus that has now grown to considerable proportions, one that within a span of thirty years has been acclaimed by critics and readers alike for its vitality and its prodigious variety of voices and styles."

"Joy Harjo has always been one of my favorite writers."

"The poems of Joy Harjo incorporate the aspects of identity, "children born, half-breed, blue eyes..." with the vision of spiritual life beneath the daily realities which face Indian women. She writes of earth, of change, and of the psychological genocide that is often so subtle we do not realize it exists. And she writes of the strength it takes to escape that destruction which often becomes destruction of the self."

"(Q: Who, other than yourself, are the important Native American writers?) NSM: Jim Welch...Louise Erdrich. Leslie Silko...Simon Ortiz and Joy Harjo are very good poets."

"It is my conviction that currently in the United States, more women than men are writing good and vital poetry, although there are fine male poets. This is our renaissance, our Elizabethan plenty. We have giants like Adrienne Rich, Audre Lorde, Diane di Prima and Maxine Kumin, we have rising powers like Joy Harjo and Celia Gilbert and Sharon Olds, and we have dozens and dozens of individual voices sharply flavored and yet of our time, our flesh, our troubles."

"Joy Harjo is one of the real poets of our mixed, fermenting, end-of-century imagination.""

"She's generous in her poetry, opening her sacred spaces and music to all, yet never naive or forgetful about hostility and hatred, as in "Transformations"... This is not forgiveness, turning the cheek. It's a claiming of power, the power of the poetic act, the courage and grace and knowledge it takes to reach, through "the right words, the right meaning” into that place in the other where "the most precious animals leave." It's about "tough belief," no sentimental gesturing. You hear it in the rhythms of Harjo's music, catching it in the bladed outlines of her images."