Hyperboreal

by Joan Naviyuk Kane

Overview

Winner of the 2012 Donald Hall Prize in Poetry
Selected by Arthur Sze

Hyperboreal originates from diasporas. It attempts to make sense of change and to prepare for cultural, climate, and political turns that are sure to continue. The poems originate from the hope that our lives may be enriched by the expression of and reflection on the cultural strengths inherent to indigenous culture. It concerns King Island, the ancestral home of the author's family until the federal government's Bureau of Indian Affairs forcibly and permanently relocated its residents. The poems work towards the assembly of an identity, both collective and singular, that is capable of looking forward from the recollection and impact of an entire community's relocation to distant and arbitrary urban centers. Through language, Hyperboreal grants forum to issues of displacement, lack of access to traditional lands and resources and loss of family that King Island people—and all Inuit—are contending with.

Product Details

ISBN-13:	9780822962625
Publisher:	University of Pittsburgh Press
Publication date:	10/21/2013
Series:	Pitt Poetry Series
Edition description:	1
Pages:	80
Product dimensions:	5.70(w) x 8.40(h) x 0.30(d)

About the Author

Joan Naviyuk Kane is Inupiaq, with family from King Island (Ugiuvak) and Mary’s Igloo, Alaska. She is the author of The Cormorant Hunter’s Wife, Hyperboreal, and Milk Black Carbon. In addition to serving as the 2021 Mary Routt Chair of Creative Writing and Journalism at Scripps College, she teaches poetry and creative nonfiction in the Department of English at Harvard University, is a lecturer in the Department of Studies in Race, Colonialism, and Diaspora at Tufts University, and is faculty in the graduate creative writing program at the Institute of American Indian Arts.

Table of Contents

I

Hyperboreal 3

At Anaktuvuk Pass 4

In a House Apart 5

Akkumin Qanituq/Swift Descent 6

Disappearer 7

Fugato (1) 9

Mysteries of Light 10

II

Love Poem 13

Gorge 15

Mugnaturjilana/I am not tired 16

Intervale 17

Drawn Together 18

The Dissolve of Voices 19

Fugato (2) 21

Etch 22

The Fire 23

III

Ivory, Stomach, Bone 27

Mother Tongues 28

Force Majeur 29

On Either Side 30

For the Man with Sealfinger 32

Time and Time Again 33

Craft 35

In Long Light 36

Looking Through 37

Games of Strength 40

Field Notes 41

Fugato (3) 42

Procession 43

Maliktuk 46

IV

Composition with Transformed Birds 51

The Orphan Girl 52

Fugato (4) 53

Rare Earth 54

Nunaqatigiit 55

Fugato (5) 57

Rete Mirabile 58

Innate 61

Ilu 62

Ugiuvak/King Island 63

Acknowledgments 65

Editorial Reviews

I am mesmerized by these poems, their sonorous pathways across time and place; how they absorb and let me linger awhile in their stark beauty. Joan Kane has created a genuine indigenous poetic, irreducible, a point of reorigination and new beginnings. Hyperboreal will be remembered and celebrated.

Sherwin Bitsui

Kane's lyric voice is terse, lapidary; each of these poems is, as John Taggart would have it, a 'room for listening.' There is an immense and insistent stillness here, 'From / the forest / the wind / has all revised' to the 'dreams inlaid with rigid marrow.' These are songs of 'intaction,' of that which endures, poised against 'the / long fermata of dusk / and its promised repetition.'

G. C. Waldrep

Arctic landscapes and colonial transformations of Alaska Native communities provide the subjects of poems that are powerful, rich, and formally and conceptually intricate.

Native American and Indigenous Studies

What is at stake in 'Hyperboreal' is not only the threat of 'cultural and biological extinction' faced by the Inupiaq people of Alaska, but also the contested place of the human in that landscape and more particularly, the lyric subject. Kane questions its customary property (which is loss) and its dream of deliverance from extinction through craft. . . In this book, we are never far from the prospective end of a line of human beings, if not the extinction of the landscape.

Boston Review

'Arnica nods heavy-headed on the bruised slope.' In these vivid, disturbing, and mysterious poems, written in English and Inupiaq, Joan Kane writes out of the landscape and language of the far north. Hyperboreal is situated at a threshold between cultures, between inner and outer worlds, and the poems are voiced with a 'knife blade at the throat's slight swell.' Her compelling vision is earned through a language that will dislocate in order to relocate and whose tonal shifts are exact and exacting.

Arthur Sze

Around, within, and beneath the poems, the vast silence of the Arctic landscape reverberates, along with the brutal silencings of its Native people. Silence also lives in these poems as a space where something else might come into being: a new way of feeling, thought, or understanding; an openness that wasn’t there before.

Orion

Demonstrates the poet's own vigorous and powerful lyric strokes, galvanizing and preserving an ancient relationship between humanity and the most northern landscapes of Earth. Kane's language, images, and lines are electric and deliberate—lasting impressions of 'a thousand / Summer days in extravagant succession.' ['Hyperboreal'] offers a confident and impressionistically lasting poet voice; and it portrays a philosophy of humble coexistence with nature.

American Microreviews and Interviews

In this collection, Kane finds herself again and again listening for the voices of her people, echoing them back, finding them in the tumultuous relationship between mother and daughter, between human and landscape. This stark collection is full of both loss and hopefulness, and eternally aware of the way the world around us shifts, throwing us into new and unfamiliar places . . . Kane does more than preserve and record a language. She gives us a song, which tells the story of not only what she comes from, but also who she is now; as a native, as a woman, as a person grieving the loss of ancestral land and learning how to build another home.

Drizzle Review

If 'Hyperboreal' is, in part, an elegy to a dying culture, its author's exquisitely lithic imagery and arresting, angular syntax may at least renew our faith in the power of language. Kane articulates an enduring vision of the world, both abstract and scrupulously grounded, collective and stunningly intimate.

Zyzzyva

‘Arnica nods heavy-headed on the bruised slope.’ In these vivid, disturbing, and mysterious poems, written in English and Inupiaq, Joan Kane writes out of the landscape and language of the far north. Hyperboreal is situated at a threshold between cultures, between inner and outer worlds, and the poems are voiced with a ‘knife blade at the throat’s slight swell.’ Her compelling vision is earned through a language that will dislocate in order to relocate and whose tonal shifts are exact and exacting.” —Arthur Sze

“Kane’s lyric voice is terse, lapidary; each of these poems is, as John Taggart would have it, a ‘room for listening.’ There is an immense and insistent stillness here, ‘From / the forest / the wind / has all revised’ to the ‘dreams inlaid with rigid marrow.’ These are songs of ‘intaction,’ of that which endures, poised against ‘the / long fermata of dusk / and its promised repetition.’” —G. C. Waldrep

“I am mesmerized by these poems, their sonorous pathways across time and place; how they absorb and let me linger awhile in their stark beauty. Joan Kane has created a genuine indigenous poetic, irreducible, a point of reorigination and new beginnings. Hyperboreal will be remembered and celebrated.” —Sherwin Bitsui

“If ‘Hyperboreal’ is, in part, an elegy to a dying culture, its author’s exquisitely lithic imagery and arresting, angular syntax may at least renew our faith in the power of language. Kane articulates an enduring vision of the world, both abstract and scrupulously grounded, collective and stunningly intimate.” —Zyzzyva

“What is at stake in 'Hyperboreal' is not only the threat of 'cultural and biological extinction' faced by the Inupiaq people of Alaska, but also the contested place of the human in that landscape and more particularly, the lyric subject. Kane questions its customary property (which is loss) and its dream of deliverance from extinction through craft. . . In this book, we are never far from the prospective end of a line of human beings, if not the extinction of the landscape.” —Boston Review

“Demonstrates the poet’s own vigorous and powerful lyric strokes, galvanizing and preserving an ancient relationship between humanity and the most northern landscapes of Earth. Kane’s language, images, and lines are electric and deliberate—lasting impressions of ‘a thousand / Summer days in extravagant succession.’ [‘Hyperboreal’] offers a confident and impressionistically lasting poet voice; and it portrays a philosophy of humble coexistence with nature.” —American Microreviews and Interviews


“Arctic landscapes and colonial transformations of Alaska Native communities provide the subjects of poems that are powerful, rich, and formally and conceptually intricate.”
—NAIS (Native American and Indigenous Studies)

“Around, within, and beneath the poems, the vast silence of the Arctic landscape reverberates, along with the brutal silencings of its Native people. Silence also lives in these poems as a space where something else might come into being: a new way of feeling, thought, or understanding; an openness that wasn’t there before.” —Orion

From the Publisher