Classic and Contemporary Poetry: Explained

In "We, the Dangerous", Janice Mirikitani explores themes of resilience, cultural strength, and defiance against systems of oppression. The poem delves into the ways in which Asian Americans, particularly women, have been stereotyped, marginalized, and forced into subservient roles throughout history. Through vivid and often visceral imagery, Mirikitani counters these stereotypes by celebrating the inner strength and cultural pride of her community, ultimately framing their survival and resistance as a powerful act of defiance. The repeated affirmations that they are “not devoured,” “not humbled,” and “not broken” become both a declaration of resilience and a call to resist the erasure and exploitation that others have imposed.

The poem opens with a refrain of self-preservation: “I swore it would not devour me / I swore it would not humble me / I swore it would not break me.” This repetition reinforces a steadfast determination, a promise to resist the forces that seek to diminish or subjugate the speaker. By beginning with these vows, Mirikitani immediately frames the poem as one of resistance. The repeated “I swore” functions as a mantra, a conscious assertion of strength against an unnamed but ever-present force that threatens to consume her identity and autonomy. This opening not only establishes a personal resolve but also sets the stage for a collective voice, suggesting that this vow is shared by a community.

Mirikitani then shifts to historical references that underscore the oppression faced by Japanese Americans during internment: “And they commanded we dwell in the desert / Our children be spawn of barbed wire and barracks.” This line alludes to the internment camps of World War II, where Japanese Americans were forcibly relocated to barren desert areas, surrounded by barbed wire and watchtowers. Describing their children as “spawn of barbed wire and barracks” conveys a sense of entrapment and forced adaptation to hostile conditions. The image is stark, reflecting the dehumanizing environment that internment created, where generations were born into confinement and stripped of dignity.

As the poem continues, Mirikitani highlights the stereotypes imposed upon her community: “And they would have us make the garden / Rake the grass to soothe their feet.” This expectation that Asian Americans should serve or “soothe” others draws attention to the roles they were historically assigned, such as domestic laborers, gardeners, and servants. The line “We, akin to the jungle, plotting with the snake” introduces an image of primal strength and cunning, countering stereotypes of submissiveness with an assertion of resilience rooted in nature. The metaphor of the snake, an animal often associated with adaptability and survival, reflects an undercurrent of resistance, as if the speaker’s community is always prepared to subvert and survive within the structures that seek to control them.

Mirikitani’s portrayal of “deft hands like blades / sliding back flesh / bloodless” further emphasizes the skilled labor and expertise that her community has offered, often unacknowledged and exploited. The “bloodless” description could suggest that their labor is performed with precise, practiced skill, or it may imply that the work they perform is detached, mechanical, as if they have been stripped of emotion by a society that sees them only as tools. By claiming that they are “Ocean’s child / Whale eater,” Mirikitani connects her community to the powerful and vast forces of nature, associating them with ancient traditions, depth, and endurance. The ocean, a source of both sustenance and mystery, symbolizes resilience, suggesting that the community’s strength lies in their deep-rooted connections to ancestral knowledge and natural elements.

The poem moves into a critique of fetishization and exoticism: “And they would have us / strange scented women / Round shouldered / strong and yellow.” These lines reveal how Asian American women have been objectified, reduced to “strange” and exoticized images that fulfill Western fantasies. Describing them as “round shouldered” and “strong” contrasts with stereotypes of Asian women as docile or delicate, instead celebrating their physical strength and resilience. Mirikitani’s portrayal acknowledges the power of Asian American women, who bear both physical and emotional burdens in a society that views them through a narrow, exoticized lens. The reference to “massaged in myth” critiques the mythologizing of Asian women, pointing to the cultural stereotypes that distort their identities and render them objects rather than individuals.

The poem’s imagery then grows darker: “And they would dress us in napalm, / Skin shred to clothe the earth.” Here, Mirikitani invokes the violence inflicted upon Asian bodies, particularly in the context of war. Napalm, a devastating incendiary weapon used extensively during the Vietnam War, becomes a metaphor for the destructive forces that seek to erase Asian identity. The image of “Skin shred to clothe the earth” suggests that the suffering and sacrifice of Asian communities have been used to build and maintain the very lands that oppress them. This line also evokes the environmental and human devastation wrought by imperialist conflicts, especially those in Asia, where Asian bodies and lives were treated as expendable.

In a powerful reclamation, Mirikitani asserts, “We, the dangerous.” This line is a turning point, transforming the stereotypes of passivity and submissiveness into a declaration of power. The speaker claims an identity of strength and defiance, positioning herself and her community as “dangerous” to those who would exploit or dismiss them. This self-identification is an act of defiance, asserting that their presence and resilience challenge the oppressive systems they face. By embracing the label of “dangerous,” the speaker rejects the stereotypes that have marginalized her community and instead asserts an identity of empowerment.

The poem culminates with a list of places and events marked by trauma: “Hiroshima / Vietnam / Tule Lake.” Each of these locations carries profound historical weight, symbolizing the suffering and resilience of Asian communities. Hiroshima represents the horrors of nuclear war, Vietnam the devastation of American imperialism, and Tule Lake the internment and displacement of Japanese Americans. Together, these references encapsulate the collective trauma and strength of the speaker’s community, connecting past injustices to present resilience.

The final lines return to the initial vows: “And yet we were not devoured. / And yet we were not humbled. / And yet we are not broken.” These words reaffirm the community’s resilience, despite all that has been inflicted upon them. Mirikitani’s repetition of “And yet” creates a rhythm of defiance, a testament to survival in the face of systemic dehumanization. This refrain not only reinforces the strength of the speaker’s community but also transforms their suffering into a powerful source of identity and pride. In declaring that they remain “not devoured,” “not humbled,” and “not broken,” Mirikitani reclaims the narrative of her community, asserting that they have endured and thrived despite every attempt to oppress and silence them.

In "We, the Dangerous", Janice Mirikitani crafts a powerful tribute to the resilience of Asian Americans, rejecting the stereotypes and subjugation they have faced. Through her vivid imagery and refusal to be diminished, Mirikitani celebrates the strength that arises from hardship and trauma. The poem is both a defiant rejection of a society that seeks to exploit and a proud affirmation of cultural heritage and resilience. In claiming their identity as “dangerous,” Mirikitani’s speaker asserts a strength that refuses to yield, transforming historical suffering into a foundation for resistance and pride.

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