In a profound and evocative piece titled "Apparitional," Joan Naviyuk Kane delves into the complexities of grief, the stark realities of environmental degradation, and the transformative potential of language. The poem, featured in the July 2026 print edition of High Country News, serves as a powerful testament to the author’s experiences and her deep connection to the Arctic landscape. Kane, a celebrated poet and co-editor of "Circumpolar Connections: Creative Indigenous Geographies of the Arctic," imbues her work with a potent blend of personal reflection and broader societal critique.

The opening lines immediately establish a tone of deliberate obfuscation and introspection: "The first thing I will do: make myself indecipherable to you, for understanding revises a kind of hunger." This deliberate choice suggests a desire to protect oneself from the consuming nature of external comprehension, perhaps a coping mechanism in the face of overwhelming sorrow or a refusal to let pain be easily consumed or commodified. Kane explains that her language has become "smog-like," tainted by the surrounding destruction and the weight of collective experience. This metaphorical smog can be interpreted as the pollution that chokes the air and water, but also as the pervasive sense of despair and confusion that accompanies widespread environmental and cultural loss.

A palpable fear emerges in the subsequent lines: "I come to fear the things that inspire me in the wake of our destroyers." This is a poignant paradox, highlighting how even sources of beauty and creative impulse are now inextricably linked to the actions of those who cause harm. The "destroyers" can represent the forces of industrial exploitation, climate change, and historical oppression that have impacted Indigenous communities and their ancestral lands. Kane’s inspiration, therefore, becomes a source of anxiety, a constant reminder of the damage that has been done.

The poem then shifts to a powerful evocation of the deceased: "I dream of my dead peers. I see how they do not want pretty things. I know they do not want me to describe pain of any kind." This imagery speaks to a profound respect for those who have passed, suggesting that their memory should not be trivialized or romanticized. The dead, in Kane’s vision, are not interested in superficial elegies; they demand a more fundamental reckoning with the issues that have shaped their lives and deaths. Their silence, or their unspoken desires, carry immense weight, guiding Kane’s artistic and personal journey.

The stark reality of environmental devastation is brought to the forefront with the mention of "gold dredges hinging into the earth." These powerful machines symbolize extractive industries that scar the landscape, mirroring the historical exploitation of natural resources in Indigenous territories. The image of permafrost thawing and the collective descent into "a kind of hell" paints a grim picture of the accelerating climate crisis and its devastating consequences, particularly for regions like the Arctic. Permafrost thaw not only releases greenhouse gases but also destabilizes landscapes, impacting infrastructure and traditional ways of life. This descent into hell is a visceral metaphor for the profound loss and suffering experienced as the environment deteriorifies.

Kane then calls for a form of ritualistic cleansing and acknowledgment: "Let us wash ourselves in those waters. Let us thirst because we cannot drink them." This paradoxical invitation suggests a need to confront the tainted realities of their environment, to acknowledge the loss of clean water, a fundamental necessity for life. The thirst becomes a symbol of the deprivation and the longing for what has been lost, a stark reminder of the consequences of ecological damage.

The poem then transitions to a deeply personal and cultural recollection, urging listeners to recall their mothers’ stories of girlhood. This intergenerational narrative is crucial, offering a glimpse into a past that is now irrevocably altered. The memory of rolling "willow leaves tight in toilet paper" and smoking them not for intoxication or escape from life, but "only to see visions of Mary, that Mary, who was some kind of mother," is a powerful evocation of traditional practices and spiritual seeking. This passage speaks to the resilience of Indigenous cultures, their ability to find meaning and connection even in challenging circumstances, and their inherent spiritual practices that connect them to the divine and the natural world. The mention of Mary, a figure of maternal divinity, can be seen as a parallel to Indigenous understandings of powerful female spiritual beings and the sacredness of motherhood.

Joan Naviyuk Kane’s "Apparitional" transcends mere poetic expression; it is a call to bear witness to the intersecting crises of environmental destruction, cultural erosion, and personal grief. Her work, informed by her identity as an Inupiaq poet and her deep engagement with Arctic geographies, offers a vital perspective on the human condition in the face of unprecedented global challenges. The poem’s enduring power lies in its unflinching honesty, its lyrical beauty, and its profound ability to articulate the ineffable, urging readers to confront difficult truths and to find meaning and resilience amidst profound loss. Her contributions to literature, including her poetry collections like "The Cormorant Hunter’s Wife" and "Milk Black Carbon," and her recent co-editing of "Circumpolar Connections," solidify her position as a significant voice in contemporary Indigenous literature. The recognition she received as a 2025 USA Fellow further underscores the impact and importance of her artistic and intellectual contributions. The poem’s inclusion in High Country News, a publication known for its focus on the American West and environmental issues, highlights the universal relevance of Kane’s message. Her work serves as a poignant reminder of the interconnectedness of all life and the urgent need for collective action to protect our planet and honor the enduring strength of human spirit.