I worked all day on a poem yesterday. The days before I was preparing for my part in hosting an annual William Stafford celebration night at the university. While doing so I ran across an unusual poem he wrote in the 1950s. The speaker in a poem is observing a Klamath Indian celebration of the berry picking harvest along the Klamath River, which flows along a portion of the California and Oregon border.
The speaker of the poem is not Stafford himself, as the speaker/narrator know less about the cultural practices of the klamath people, although is respectful. The speaker refers to the principal dancer as "the war chief", when there would be no such person in the 1950s reservation era. Stafford himself would know this. The dancer resembles a shaman in music and movement, but the era of shamanism was long gone at the point under missionary and compulsary bording school pressure. So the speaker misidentifies the performance as a war dance.
The speaker admits to envying the war chief, mistakingly thinking he had been isolated from the traumas of mainstream americans alive at the time. WWII, The Depression, etc.. The poem identifies none of these traumas, onky has the speaker say he envies the reservation indian, displaying an unawarness of the mid century and earlier traumas on the reservation, which at that time the United State Government was liquidating under the federal Indian Tribal Termination policy
The Therein lies the subtle dislocation of the actual reality and the speakers. Stafford himself was a WWII conscientious objector, serving in the military as a non-combatant. He was well aware of what was going on.
Stafford was never a poet who preaches or explains. The explaining is deep in the subtext of of the poem and comes to those who come to the poem knowing something of the situation.
Here is the poem I was looking at:
At the Klamath Berry Festival

by William Stafford


The war chief danced the old way —
The eagle wing he held before his mouth —
and when he turned the boom-boom
stopped. He took took two steps. A sociologist

was there; the Scout troop danced.

I envied him the places where he had not been.


The boom began again. Outside he heard
the stick game and the Blackfoot gamblers
arguing at poker under lanterns.
Still-moccasined and bashful, holding
the eagle wing before his mouth,
listening and listening, he danced after others stopped.


He took two steps, the boom caught up,
the mountains rose, the still deep river
slid but never broke its quiet.
I looked back when I left:
He took two steps, he took two steps,
past the sociologist.



E. Hughes Using the context you provided, is it that the eagle is symbolic of the the military/U.S./Uncle Sam? The Blackfoot performing before the sociologist maintaining its history and culture (yet studied as history), silenced by the eagle's wing.