1.

Niisha 1
          Koochiwe? Koochiwekita? 2
Skata 3
          Koochiwe 4
Mata niwaakota tasi poonama 5

Southward as indicated by the old instructions
of faith and commerce. My lungs draw from wisps

of warm air wafting over my infant’s
dark net of scalp as I warm my knuckles

around the rope. It is best to make an early start.
It is best to unmoor in a cove favored by the red necked

diving birds where peat-warmed exhalations billow
in the northern chill. Each measure of travel returns

to essentials: one fire to the next, one sleeping place
or body of water. Water to water being the original

and eternal map. This Great Lake belongs to the Eries,
but portage is the imperative of all walking creatures.

My arms tremble with the weight of the value
above my head until my grip calluses and my muscles steady.

[1] I am going

[2] Why? Why are you going? Note: repetition unusual in Shawnee, influence of English apparent

[3] Fragment of phrase to indicate want/desire/need/hunger

[4] See above

[5] I don’t know my place

2.

Nehiwe kiisasilawiipe? 6
          Kwiilahi hini saawanwa hoteeweneki ke’haape 7

I let the child down now, so they may
cool their feet in the mud and throw rocks

into the stream. If we look to the wet
bottomland, we will see the dance

of crook-legged Rails overturning the chaff.
We are by no measure the only weary

travelers on the trail, with the great Miami
valley to our west lit with the trilling

of millions of songbirds in migration.
Overcrossing Raptor on the way

to continue creating the world.
It is said we so love our children

we carry them until their legs drag
upon the ground. Through beech forest,

mixed oak and sugar maple, and past the swamps
drying to stands of ash and elm, the silky flight

of Black-crowned Night Herons accompany
the generations into the great city of Chillicothe.

[6] I am going

[7] We must go to the Shawnee city (would all cities spoken in the language not become Shawnee cities?)

3.

Niisha 8
          Ha kici’fefi 9
Mata nici’fefi 10

On the trail everyone grows rapidly to their
final height. A bear stands on hind legs

to nose over the serviceberries. In adolescence,
trail trees are staked down by the crown

to the earth, pinned into patterns of shattered
yet ornate growth to mark the way to water,

to portage, to the stone fruit and the hunt.
In adolescence, the child begins to shed natural fear

and roam of his own volition. What can be gleaned
from a bare trail overspilled by concrete?

On this marker, any language followed
by the mark of “x” is no longer spoken.

Some of these trail trees are therefore
no longer translatable.

[8] I am going

[9] Are you afraid?

[10] I am not afraid.

4.

Ha kineeme hoteeweneki yeetaayaake? 11
          Mata niwaakota 12

There are cities you will see and cities
you will need to seek: Great Hiwassee, Olathe,

Cahokia, Roanoke. Salt, shell, obsidian conducted
north overland. Copper, pipestone,

buffalo robes ferried south. Nests of hornets
and yellow jackets at eye level along the trail

herald an unbearably cold winter. Stay warm
at the joints, keep to the threads of bare land

until you find the tree that grows as a husky bulwark
then branches into three trunks.

Hickory fire may be slow to warm, but its heat
is lasting and its coals the most dependable.

A long river bisecting a village
is the blueprint of paradise. When I venture past

the settlements, ye’salaapiikwahaaya niwaakota
tasi poonama 13 I portage for the purpose

of trade; becoming a maker, a spy,
a chimera, a blazer, and a barter.

[11] Where are the cities we used to live in?

[12] I don’t know

[13] Walking through the brush, I know my place/I know where I am

5.

Wa’silawiiya? 14
          Laapiikwa 15

I am looking for the pattern
of my relatives across the faces

of strangers. We all quicken in the salt air,
thaw in the southern wind.

One gap in the long chain of mountains
became known as the Cumberland Gap

and after this place, we become guests.
I’ll work diligently hiding caches

in the knotholes of the rick rack fencing
along the back roads. I want to be a peacekeeper

and for the term survival to fall out
of fashion. There is a word in our language

for my child or grandchildren to place
before my name and always know where to find me.

There is nothing we have overlived. These mountains
are among the oldest in the world.

[14] What should I do?

[15]  No easy translation—not exactly wilderness/heavy underbrush/unbroken portage/hom

Teaching Materials

Directions and Purpose
Poetry is a beautiful expression of story, image, sound, and form. This exercise uses prompts to open the mind to symbolic* and associative* thinking. These are important perspectives in reading poetry. This resource is designed to offer an open-ended and unique way for readers to think about poetry and to encourage readers who might not feel sure about how to read a poem. There are no right or wrong answers to these prompts, and the reader can pick and choose at will, either responding to each prompt or selecting those that seem most interesting. 

  • Pick any poem you like and allow yourself to read the poem, listen to it, or visually explore the way it moves across the page. As you read, start to notice the way the poem enters your mind. 
  • Follow the prompts to think about color, image, shapes, and/or places that you find in the poem. These prompts will allow you to think about poetry in a new way.

*Symbolic
This kind of thinking and reading includes the ability to make connections beyond the immediate and explicit. For example, if a poem includes an image of a tree that stands symbolically for a way of thinking or a particular value, that would be symbolic thinking. In this exercise, the COLOR prompt asks the reader to think symbolically about the way color can symbolize emotion.

*Associative
This kind of thinking and reading includes the ability to connect ideas and allow the mind to branch out from one thing to another. For example, if a reader notices connections between the styles and forms of three different poems, that would be associative thinking. In this exercise, the SHAPES prompt asks the reader to think associatively about the way the words on the page connect to the story or form of the poem.

Prompts

COLOR: Are there any colors you notice in the poem? Make a note of them. What feeling or feelings do you take from the poem? Give it/them a color/s and define them.

IMAGE: What is an image that you notice from the poem? What visual stands out in your mind’s eye?

SHAPES: Think about the shapes you see in the poem. What do you notice about the way the writing looks on the page? Is there a story or perspective coming through from the poem? What do you think about the way the story is taking shape?

PLACES: Consider the places referenced in the poem. Where is this happening? What part of the poem is most interesting to you? Do you sense a particular place or time? What signs in the poem help show you where you are as a reader? What are the words or phrases in the poem that draw your attention or capture your curiosity?

About Laura Da’

Laura Da’ is a poet and teacher. A lifetime resident of the Pacific Northwest, Da’ studied creative writing at the Institute of American Indian Arts. Her books include Tributaries, Instruments of the True Measure, and Severalty.

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