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Kinnell has noted that of all the poems he has written, “The Bear” is one of his favorites. Yet it is one of the poems he understands the least. It is a poem he wrote intuitively and that others have interpreted for him over the years. While he cannot say what he consciously intended in writing the poem, he has given readers insight into the source material.
In a conversation with Iowa Review, Kinnell says he wrote “The Bear” after hearing a story about a man who went on a bear hunt with Inuit people. The story fascinated him, and he wrote the poem out of that fascination, wanting to give it a mythological quality.
Bears feature prominently in myths all over the world, but especially in America and among Indigenous Americans of the Pacific Northwest and the Arctic. Incidentally, the word “arctic” comes from the Greek word “arktos,” which means “bear” because the Arctic circle is located directly under the constellation of the bear. The bear in Inuit culture, like many animals in their mythology, is treated as sacred, with Inuit myths teaching that it has an eternal spirit. The bear sacrifices its physical body for man to eat, but its spirit returns to the spirit world before returning again to sacrifice a new body. Inuit teach a similar myth about the salmon who they call “the swimmer.” Both bear and salmon are important food sources for those living in the far north, and these stories frame the hunting and killing of these animals as part of a spiritual practice that maintains their respect for the natural world at the same time that they destroy parts of it to survive.
This helps explain the ending stanzas of “The Bear” in which Kinnell writes that the bear feels it must get up and dance yet notes that the bear lies still. It refers to the spirit of the bear going on in its spiritual afterlife while the body of the bear is now dead. It is from ideas like this that critics call Kinnell’s poems “shamanistic.”
Shamans are part of most traditional, animistic religions. They are people who attest to a powerful supernatural connection with nature and can communicate with the Earth and animals in a way most people cannot. Usually, they use this connection to heal rifts between people and nature and bring balance to both. “The Bear” is a prominent example of a poem that walks between the human world and the natural world, with the hunter wrapping himself in the body of the bear for protection and comfort so he can sleep. In the dream, the hunter and the bear transfuse their consciousness, though the hunter cannot fully understand what that means.
One of the liberties Kinnell takes is to depict the hunter pursuing the bear in solitude. In reality Inuit usually hunt with their dogs, and the hunter who relayed his story to Kinnell would have been hunting in a group. However, pursuing the bear in solitude allows the speaker a greater level of privacy and allows the poem to become an allegory for personal, spiritual transcendence rather than the mere relaying of an adventure story.
“The Bear” would be a strong example of American Romanticism or shamanistic poetry at any age, but it took on special significance in the 1960s. Like many artists and activists of his time, Kinnell was dismayed by the Vietnam War and the way the American government, capitalism, and new technology were affecting the Earth and the people of the world. In The Book of Nightmares (1971) Kinnell depicts a world being ravaged by war and destructive technology. Outside of his writing he was a vocal opponent of the Vietnam War and an activist for racial equality. As he aged and moved to rural Vermont, his writing became less political and more personal, dwelling on the natural world and offering glimpses of the spiritual succor he found in nature.
He was not alone in this turning back toward nature. The 1960s and 70s saw a “back to the land” movement in which many people idealized rural, agricultural, and communal living. Numerous writers turned to Indigenous American culture and Eastern philosophy as an antidote to the prevailing ideas of Western civilization, which they perceived as corrupt and destructive. One famous example of this cultural movement is Ken Kesey's book One Flew Over the Cuckoo’s Nest (1962), which is narrated by the Indigenous American character “Chief,” who sees the dehumanizing effects the modern medical and psychiatric system is having on those around him.
“The Bear” presents the view of a hunter living in a pre-technological world and connecting with nature in a way that shows respect and a symbiotic relationship. Rather than railing against injustice and modern society, he presents the alternative: a man living in balance. This is part of why it is so significant that the hunter does not use a gun to kill his prey. The poem rejects the easy destructive quality of a gun and focuses on what the hunter gains when he connects more deeply. Presumably a modern hunter who could shoot a bear would not need to crawl inside it after a seven-day journey. He would not have the dreams of the bear or the spiritual rebirth the hunter in the poem experiences. The poem points to what modern human beings are missing in their use of technology. Life is easier but also less satisfying, less mysterious, and less redemptive than it would be in a more nature-based culture.
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By Galway Kinnell