18 pages • 36-minute read
This Morning I Pray for My Enemies
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Background
Socio-Historical Context
Like much of Harjo’s work, “This Morning I Pray for My Enemies” can be read as a philosophical critique of U.S. culture. In her writing, Harjo frequently aims to call into question dominant narratives and to disrupt traditional poetic structures. “This Morning” is an excellent example of how Harjo’s work can be located in her larger socio-historical context. While many authors write in response to the social, political, and cultural dynamics of the society in which they live, Harjo’s way of approaching political critique is uniquely hers. As an Indigenous American author living and working in colonized spaces, Harjo attempts to both reflect her own heritage and to resist assimilation. “This Morning” reacts to the U.S. socio-historical context in several key ways: It’s written in free verse, it’s circular in narration, and it uses specific natural imagery and metaphors to build a philosophical conclusion.
Further, the content of the poem—which heavily relies on the question of who one’s enemies are—can be read as a direct response to U.S. society and history, which often reinforces violent boundaries: Some people are enemies and some people are not. Harjo wrote “This Morning” sometime in the early 2010s, though it was published in 2015 as part of a larger collection of poetry that repeatedly addresses the dispossession and mistreatment of indigenous people in the U.S. The poem, to some extent, can thus be seen as an indigenous speaker reflecting on their relationship to the colonizing oppressor; is this person “worthy of engagement” (Line 2) or in “danger” (Line 9) of “becoming a friend” (Line 9)? In her poetry, Harjo consistently explores the complex situation of indigenous people: living in a social context in which one’s community is negatively affected by the dominant culture and addressing the historical violence that has taken place.
Authorial Context
As a part of Harjo’s extensive canon of work, “This Morning” is both distinct and reminiscent of her other pieces. Some of the more unique aspects of the poem have to do with the length and structure. Many of Harjo’s pieces are longer, with more enjambment and shorter lines, while “This Morning” contains nine self-contained lines. The relatively compact poem is also—partly as a result of the punctuation—more direct than some of Harjo’s other writing, which can take on a more narrative style. Despite these differences, “This Morning” is also reflective of many of the things Harjo has become known for over the course of her prolific career. In some places, her use of language is almost musical. Additionally, the combination of physical and philosophical language creates a meditative piece of writing, which fits in with much of her other poetry.
To a large extent, Harjo’s poetry is shaped by two intertwining forces: her love of language, imagery, and storytelling, and her desire to represent the indigenous experience in the U.S. Thus, many of her poems combine vivid, specific descriptions with larger thematic ideas or arguments about the treatment of indigenous people. “This Morning I Pray for My Enemies” more clearly fits in the first category of poems: It is metaphysical, short, and subtly imparts a closing message.
The poem, however, can also be read as a reflection of Harjo’s views on people who have attacked her, her artwork, or her people as a whole. Though the poem doesn’t name specific enemies, “This Morning” shows a speaker wrestling with a crowd of unnamed antagonists with whom they must figure out how to be in relationship. As an artist not unused to dealing with a hostile, unforgiving society, Harjo could be using “This Morning” to philosophically explore how a person should approach relationships with those who want to do them harm. Further, Harjo’s ruminations may be more universally applied as readers begin asking themselves deeper questions: What are enemies? Why do enemies exist? Is the difference between enemies and friends actually so great as the masses are widely led to believe? What happens when people allow their hearts versus their minds (the emotional versus the rational/logical)? While these questions may be rhetorical in nature, considering them may offer a more poignant read of Harjo’s work.
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