Our inaugural
resident

Rena Priest of the Lhaq'temish, Lummi Nation. March 2024

This photo is:
“A photo of those books that Rena was reading
during her time at Cascade Head”

This piece was written during Rena’s time with us in here in the
Cascade Head Biosphere during the month of March 2024”

Defenses of Peace in the Biosphere Reserve
By Rena Priest

I arrive in the Cascade Head Biosphere Reserve and Experimental Forest on March 1, 2024. Cascade Head is one of 28 UNESCO Biosphere Reserves in the United States. There are 309 such reserves in 41 countries worldwide. This place is special not only for its beauty but also for its distinction as the first scenic research area in the United States. It was made such by Congress in 1974 to protect and restore the region’s ecological integrity. I am here as the inaugural fellow of a literary residency for Indigenous writers.

To better understand UNESCO’s role in this biosphere reserve, I turn to their website. I find a quote from their constitution: "Since wars begin in the minds of men and women, it is in the minds of men and women that the defenses of peace must be constructed.” So that settles it. I am here to construct defenses of peace—a peaceful mind responding constructively to ecological violence and the spiritual disturbances that result.

My first morning in the reserve, I wake to snow, make coffee, build a fire, and let the peaceful beauty of the place settle on me like the snow soundlessly falling into the valley below. The cabin has wall-to-wall, floor-to-ceiling windows and is perched on a hillside with a peek-a-boo view of the Salmon River, which meanders to the grand drama of the Pacific Ocean, crashing ashore less than a mile away.

The days pass, and of course, I am happy and grateful to be here, but it is an uneasy happiness, a gratitude existing on the same coin as grief. As an indigenous person, to be in a beautiful home in a beautiful place is never a simple enjoyment. In such a house, built on the homelands of displaced peoples, colonizer violence is always standing in the corner, trying not to be noticed amid the charming architecture; architecture skillfully aimed at highlighting the landscape to make one feel as though they are a participant in nature, rather than a spectator, occasionally cheering from the luxury box.

In the most beautiful places, it is difficult to be at peace fully because I am always aware that the people who belonged to the place, who lived here because of its beauty, cared for the place for thousands of years because of its beauty, had spiritual beliefs and practices that were fused with the wellbeing of this place because of its innate beauty and function—I am always aware that those original people didn’t simply leave because new people arrived on their shores. These places—all up and down this coast, every coast, every watershed, every nook, and cranny of hospitable, desirable land—through violence, or threat of violence—were taken.

And once taken, the violence was turned from the original inhabitants to the landscape itself—ancient forests felled, salmon rivers dammed and damned, buffalo herds systematically exterminated to break down Indigenous resistance, by destroying food sovereignty to make way for privately held domesticated livestock. The introduction of livestock, agriculture, clear-cuts, mines, and factories destroyed native flora and deprived species that relied on those wild harvests so integral to survival. Each of these beings, like the original people, contributed to the balance of their homelands.

There is an assumed cultural supremacy about colonizer science that discounts knowledge rooted in a deep relationship to place. This type of science often serves the interests of extraction rather than integration. Rich men who pay for studies will never set foot in a place yet say with confidence that we primitive savages lived here in ignorance of how to cultivate our land and, therefore, have no right to it or the wealth it contains. For centuries now, they’ve been handing us pickaxes and plows, backhoes and hydroelectric dams—the tools of our collective destruction—and telling us to get to work becoming civilized. At the same time, they line their pockets with the spoils of our sacred homelands and the fruits of our labor. Am I angry? I am cultivating my mind in defense of peace.

The word integrity comes from the Latin root, “Integer,” meaning “intact.”  In this biosphere reserve where I am trying to make my mind a vehicle for peace, I must wrestle with the fact that the Western Hemisphere and indeed the world, is not intact. We live in a society built on the destruction of integrity. With this knowledge, I don’t know where in my mind to construct a sanctuary where a peaceful thought might live, so I read. I search for understanding, something to say. I read books on how to write, books on history, books on art. I read Caste by Isabella Wilkerson, learn all the gruesome details of the American caste system. I read Cosmic Scholar, about an anthologist who recorded Indigenous spiritual songs to save them from oblivion. I read Shapes of Native Nonfiction, and encounter so much alchemy—courageous voices transforming the shadow of genocide into strength and places where light can once again shine.

It is hopeful but difficult. I grow sad. I call my cousin and we chat about it. She tells me she’s upset about Gaza; seeing Palestinians subjected to violence, starvation, and isolation strategies that were endured by Indigenous communities not so very long ago is triggering. “There’s no help for them.” She says, “Just like there was no help for our ancestors. And nobody will tell their stories the way they should be told.” I think about how the genocide in Gaza began with the burning of their ancient olive groves. We end our phone call trying to encourage each other, but I am still sad.

My cousin’s talk of Gaza makes me recall a recent breakfast with my dad and his girlfriend, a rich white woman from California. The crisis in Palestine came up in our conversation, and she said, “It’s just terrible. They should be allowed to have a reservation too. Everyone deserves somewhere to live.”  Then she changed the subject to conversation better paired with her bloody Mary. My husband watched to see if I would keep the peace. Of course, I would keep the peace. What could be gained in warring with Gloria?

Now, her words come back to me: Everyone deserves somewhere to live. About that she is correct. There is no need for a whole genocide right now. There was no need for one beginning in 1492 and continuing on for hundreds of years. There is no need for the burning of olive groves, the extermination of buffalo, the eradication of biodiversity in favor of domesticated, monetizable monoculture. There never has been a need for it. "Since wars begin in the minds of men and women, it is in the minds of men and women that the defenses of peace must be constructed.” Everyone deserves somewhere to live: people, fish, birds, wildflowers, trees and bugs. Spaces for holistic habitation should be preserved and protected, and this effort by UNESCO is beautiful.

Still, it would be better if we as a species didn’t condemn healthy ecology to such oppressively small quarters. It would be better if the biosphere reserve were the big one, the original homelands, the whole planet. To draw a little boundary around a space and declare it Nature: Preserved is like the legendary king trying to carpet his kingdom to protect his delicate feet rather than wear shoes. It’s good to make the initial step toward protecting something, but as my mind strives toward peace, it keeps returning to an obvious conclusion. We must try to find a way back to integration, integrity, a way of being intact. How? I think it begins with belief.

I remember hearing my friend tell a story of when he was a little boy at the beach with his grandmother. He was smashing rocks against each other, and his grandmother said, “Leave the rocks alone.” She told him there were beings who lived in rocks who shouldn’t be bothered. He believed her, so he left the rocks alone, understanding that the earth has rights. I believe there are answers in ancestral knowledge. I’m not talking about this in a woo-woo way. I’m talking about it from a standpoint of indigenous knowing.

I was listening to a neuro-scientist talk about gut reactions. She explained how our gut is connected to the nervous system and responds when we know something intuitively. The interviewer asked her, “What is intuition?” She said that we have a limited amount of access to memory but everything we ever encounter is stored somewhere in our brains; even if we can’t easily retrieve it. All our accumulated knowledge and experience is still there, and when we have to make a decision with limited information, our intuition kicks in. We have a feeling, a physical feeling, about what needs to be done. She said this accumulation of information and awareness of the world gained through experience is the reason older people have a stronger sense of intuition.

In my tribal community, elders are revered for this reason. What if honing intuition through accumulating knowledge and experience works the same way over generations? Imagine living in a place for your whole life. You would learn its patterns, what grew where, when the tide turned, what drew the fish and game, and how to harvest so that more would return next time; you would feel safe and connected to your surroundings.

Now, imagine your DNA thriving in those landscapes and waterways, forming symbiotic, spiritual, and physical relationships there for ten, fifteen, twenty-thousand years. You would have connections to that place that newcomers couldn’t replicate.  The food there would be tied to your gut flora and those special brain-body pathways for instinct and intuition would be supported by the food you ate, the water you drank.

In search of the science of integration, I turn to the oral histories of my ancestors. Their brilliant, integrated worldview is soothing in the perfect sense it makes. For example, in Lummi lore, it is said that if we treat the salmon with respect, they will “travel from their longhouse, the smoke of which is like a rainbow, and journey to the fishing sites to be food for the people.” I wonder what kind of fire makes smoke like a rainbow. How does the fire of the salmon people burn? I don’t know, but its power is restorative.

In old Lummi culture, there is a belief in a world under the water that mirrors our own. It is upside down. Tiny things are big, and big things are tiny. Smoke is made of rainbows. Here in our world, rainbows come when the sun shines after the life-giving rains. A rainbow is a symbol of renewal. So, smoke made of rainbows is a symbol of new life, and the fire of the salmon people is not destructive but creative.

When the salmon return, they are the spark of life that will carry us into a new season. A spark that finds fuel is the beginning of fire. An electrician once told me that a high-voltage electrical arc, (essentially a really big spark) can be as hot as the surface of the sun. The sun, of course, is a star. A star, of course, is a fire. Are we not made of the stars? Are we not also fire? Yes. We are. Fire consumes. Fire destroys. People consume. People destroy. But fire also purifies and makes space for new life, so it is both destructive and creative. We have our place here, just as the salmon people have their smoke rainbows in the sea. (“Did you hear about the rainbow who got in trouble? It had to go to prism. It was a light sentence.”)

If you use sound waves to burst a bubble under water, it will expire in a flash of light, light which by its nature is a rainbow. The phenomenon is called “Sonoluminescence.” Science can’t fully explain it. Another phenomenon that science can’t fully explain is called wave-particle duality. It is studied via what’s known as the double-slit experiment. In the experiment, light behaves as discrete particles unless observed, in which case it acts as a wave. Is it childlike to try to understand this inexplicable fact by saying that the universe, at the level of particles, is conscious?

In my culture, it is not unusual to go and express gratitude and prayer to the water. The water is conscious. Like light, it behaves as both particles and waves. Why would light not be the same? It is the same. In my ancestral language, the word for river is also the word for the Milky Way, a river of light in the sky, a river of billions of burning suns. It continues that idea of the mirror world under the waves, the multi-layered nature of existence. Everything is connected. The ancestors understood this deeply.

A friend of mine shared a story about his visit to a National Forest in Oregon, the tour host was a geologist who gave a presentation on what he calls the “mythic dimensions” of his research, which otherwise is rooted in what he calls the “hard-ass science” of “geophonics, biophonics, and anthropophonics - sounds made by different components of the world.” The talk overviewed ecological interconnection through sound, and how a fish in need of a home can send out a signal, which is received by the forest and the roots of trees, which may respond by felling a tree over the stream in exactly the right place to slow the current and make the stream habitable for the fish. Spawning salmon bring nutrients from the ocean into the forest, so salmon have symbiotic relationships with the trees and the underground fungal networks that connect them.

I don’t know if this is why the tree would respond the way it did, but what this story seems to want to teach is a fundamental understanding of one of my favorite features of reality: that the right combination of wishing, need, and expression can find an audience with a conscious and benevolent universe. That the universe, in its infinite intelligence, with the infinite connections between the fires that shine above and those that glimmer below, will seek balance, will hear a request and find a way to make it so. And remembering this good teaching about having faith in the benevolence and wisdom of nature, I have finally constructed a defense of peace in my mind.

A selection of Rena’s previously published work that she read during our community gathering with her

Welcome to Indian Country
Poetry Magazine: September 2022 On Monuments

Where is Indian Country?
It’s everywhere we stand.
It’s anywhere we dance.
It’s where the earth loves
the feel of our feet.

Welcome to Indian Country.

What does that mean?
It means this is where
we lift our voice in song
and make a joyful drumbeat
so our hearts can sing along.

Welcome to Indian Country.

This beloved country here,
where we honor our ancestors
by growing stronger every year,
by making laughter the answer
that wipes away our tears.

Welcome to Indian Country.

What does the future hold?
In uncertain times like these
we reach for words like hope
and things we can be sure of—
sunrises, beauty, love…

Welcome to Indian Country.
It’s everywhere we dance and
where the feast is truly grand,
Welcome to Indian Country.
Now give us back our land!

The Forest for the Trees
Spark Magazine: April 2021, Issue 2

I have seen a tree split in two from the weight of its opposing branches.
It can survive, though its heart is exposed.
I have seen a country do this too.

I have heard an elder say
that we must be like the willow—
bend not to break.
I have made peace this way.

My neighbors clear-cut their trees,
leaving mine defenseless. Alone,
they’ll fall in the first strong wind.
Together we stand. I see this now. 

I have seen a tree grown around
a bicycle, a street sign, and a chainsaw,
absorbing them like ingredients
in a great melting pot.

When we speak, whether or not
we agree, the trees will turn
the breath of our words
from carbon dioxide back into air— 

give us new breath
for new words,
new chances to listen,
new chances to be heard.

Dancing to the Ticking of The
Doomsday Clock
Green Mountain Review: American Poet
Laureate Series, 2 of 5:

At 100 seconds to midnight
the revelry is dazzling.
We are all enchanted
and enchanting,
with our fiery delusions
of the glory of man.
Oh, how we dance—
like no one is watching,
because they’re not.
Oh, how we dance—
like it’s the end of the world
because it is.
The Doomsday Clock now says
100 seconds to midnight
and still, the party is blazing.
Some species are waning,
several others have gone,
but we’re still here, now grown
to eight billion strong.
Will our neighbors be glad
when the clock strikes twelve
and our hot mess is quelled,
allowing them to carry on
undisturbed
in their own meek
and beautiful business?
Will they miss us?

To Sing and Dance
Green Mountain Review: American Poet Laureate Series, 2 of 5

“When I was a girl, they wouldn’t allow any Indian dancing.” [1] –Sadie Celestine Jones (Lummi Elders Speak, 1982)

The spirit says, Sing and dance for me
and I will take care of you for all your days.
This must be the reason why, for Indians
to dance and sing was made a crime.
This is power, and the enemy was afraid.
We had to take it underground.
On my rez, singing and dancing were allowed,
but only once a year on Treaty Day, when
agents from the BIA were obliged to look the
other way, so we could celebrate that treaty,
where our ancestors traded so much away
in exchange for our lives. Otherwise,
raids were made on ceremonial homes,
sacred objects seized, obliterated, or
appropriated for use as museum displays,
meant to serve as proof that our beautiful
and ancient Indian ways were dead.
How foolish to think we wouldn’t sing?
To think we wouldn’t dance in celebration
of this beautiful earth? Voices lifted
in songs of praise, foot soles whose every
touch of dirt is the step of a joyful dance,
shining light along even the darkest path,
for the spirit says, Sing and dance for me
and I will take care of you for all your days.

[1] Our right to sing and dance was not fully restored until August 11, 1978, when then-president Carter signed into law the American Indian Religious Freedom Act.

For What?
Terre á Ciel: March 2024

The earth dances,
is always dancing,
turning pirouettes
in the eddies of island straits,
bending and curling in smoke
over undulant fires.

Tides are a chorus-line
that advances and retreats
to the applause of waves
while out in a field, flowers
shimmy and shake
to the music of a breeze

And you, have you ever
danced yourself loose              from you
found peace in the rhythm
of your own being—danced
as the earth’s best
expression of joy,

a bright thread
fluttering in the cloth
into which we are woven,
connected, wrought,
by the mysterious weaver
for what, but to dance?

(A Poem Is a) Naming Ceremony
The Madrona Project, Volume II,
Number 1 : Keep a Green Bough; Voices from
the Heart of Cascadia

What has grown out of what has gone away?
The clear-cut patch has grown larger on the mountain.
The rivers have grown murky with timber trash,
and there’s enough run-off cow manure to grow corn
out there on the tide flats. I don’t want to think about
what has gone away. I want to meander and play
and forget myself until I can grow a new me
in place of all this grief—learn the language to see
the cottonwood as kwealich ich, the dancing tree;
the killer whales as qwel’ lhol mechen, our relatives
under the sea; the whole glorious landscape
filled with meaning to end my grieving.

When I was young, I was invited to learn
Xwilngexw’qen, the people’s language,
but I said no. I didn’t understand. I thought
I wanted to learn how to be rich. I didn’t know
that the only way to possess all the wealth
of the world is by naming it—here is bird song,
here is the kiss of a lover, here is the feel
of cold water at the peak of summer.
I have spent my life with words, trying to name
a hint of what I lost by not learning my language.
Estitemsen. Tu totest sen. Estitemsen.[1]

[1] I’m doing my best. I’m still learning.
I’m doing my best.

Elevator
A Dozen Nothing, March 2021

We’re late. Waiting for the elevator,
I grumble at daughter, “Don’t worry about me.
Keep focused on getting ready yourself!”
The doors open and our neighbors hear my scold.
To dispel the awkward moment, the guy neighbor
holds up a cake. “I have cake.” He says, “If we
get stuck in here, we won’t go hungry.”

“We won’t have to eat each other” I say.
“Well, not right away,” he responds. I smile.
The gal neighbor looks uncomfortable.
Looking around at her fellow passengers,
I think she knows she’d be the first to go.

“What’s the cake for?” I ask.
“We’re going to a Passover dinner.”

In the car, daughter says, “Wow, Mom,
that got dark quick. Our poor neighbors
were on their way to a nice dinner and have now
been confronted with the fact that their neighbor
would cannibalize them in an elevator.”
“Not right away,” I said, “he had Passover cake.”
Besides, I’m sure they know about Catholics,
how we’ve been eating Jesus Christ
for the last two thousand years.

Remembering Silé at Sxwelisen[1]
Washington Poetic Routes

“We used to say, when the tide is out, the table is set.
The earth provided, and the spirit fed us
with the glittering turn of the tide,
the arc of the sun in the sky,

the call of birds, the sound of waves—
to be nourished in this way,
makes that food on grocery store shelves
seem fake, empty.

That food, where does it come from?
Whose hands grew it? Did anyone sing to it,
a song of thanks? Was there patience and care?
Were there prayers?

Think of how it got there—what it’s made of.
When I was a girl, everything we ate
came from the earth that loved us,
through hands of people we loved.”

[1] Sile’ is Grandmother. Sxwelisen is a place name for a land bridge that emerges at low tide. We go there to harvest shellfish.

Creation Story
Writing the Land: Streamlines / The San Juan Preservation Trust

With a title like that, I can see
how you might guess this is a poem
about life breathed into clay,
and the man’s rib, and the woman,
and the snake. But no. It’s not that one,
with forbidden fruit, and an absent father-god,
who comes and goes from the garden
with warnings and his list of “thou shalt not.”

No. This is the one about Kwome and Kwelshan,
two mountains standing regal in my homelands, and how, through their parting of ways
the islands of the Salish Sea came into being.

A long time ago, the two mountains were married.
For some reason, who knows why?—one day
Kwome decided it was time to be on her way.
She had a flare for the dramatic, and her salty tears became the swirling eddies of the Salish Sea.
Soon, all that crying made her tired.

She set down her texwitch, her bow
to have a bit of xwelol, camas
and when she got up to go,
in her sorrow she forgot her texwitch,
and dropped a little piece of her xwelol,
these became islands, the people now know
as Texwitch[1], the island shaped like a bow
and Pen’e’nex’weng[2] the island,
where we go
to p’aneq, to dig for xwelol.

She went along this way, leaving gifts
for the xwel’mexw, the people.
And the gifts have stories to map the bounty
in the garden of the Salish Sea.

When she arrived where she stands today,
she decided that was far enough away.

Sometimes on a clear day, you can see her
all the way from her old homelands
where once she stood with handsome Kwelshan.
And he likes to catch a glimpse of her
glowing majestically in the rare sunshine.
He could look at her and nothing else
for the rest of his life. But soon she decides
it can’t go on this way, and she draws the clouds
around her face to disappear back into the gray,
and that is how the ancestors explain,
the shroud of clouds, the curtains of rain.

[1] Eliza Island
[2] Vendovi Island

Daffodils
A Dozen Nothing, March 2021
After Wordsworth

The Indigenous poet
writes life-affirming poems
about daffodils.
Her audience says,
“But you’re oppressed.”

The Indigenous poet
writes poems of outrage
about oppression.
Nobody cares.
She gets depressed.

The Indigenous poet
gets requests for poems
about being Indigenous.
“But all my poems are
about being Indigenous.”

The Indigenous poet
isn’t considered
an Indigenous poet
because “Shouldn’t you
write about genocide?”

The Indigenous poet
tries to write poems
about genocide.
Her poet spirit dies.
(Genocide gets the job done.)

The Indigenous poet says,
“Stang tse temxwila!”[1]
and writes about daffodils
and the untouchable beauty
of living a poet’s life.

[1] “What the hail.” There was no concept of hell or swearing in Xwlemi Chōsen/Lummi language. (Imagine, 200 years ago nobody at Lummi burned eternally). I originally wrote “Stang tse spaxwong!” which means, “What the fog!” but I thought that might be too spicy.

Beach Fire
Northwest Know-How: Beaches, Sasquatch Books

Measure wealth by how well you enjoy the hours
fluttering by in praise of sunshine and the ocean breeze,
whispering love songs across waves that kiss the beach.
This wealth takes work, and absolutely no work at all.

Fluttering by in praise of sunshine and the ocean breeze,
don’t mistake leisure for laziness. This gratitude is rigorous.
This wealth takes work, and absolutely no work at all.
This gift of a moment, to be alive, to feel at peace…

don’t mistake leisure for laziness. This gratitude is rigorous.
To be filled up and satisfied by a day at the beach,
this gift of a moment, to be alive, to feel at peace,
it means your heart-fire flames a lovely heat,

to be filled up and satisfied by a day at the beach.
You could toast marshmallows by that warmth,
it means your heart-fire flames a lovely heat,
the glowing embers a boundless source of power.

You could toast marshmallows by that warmth
whispering love songs across waves that kiss the beach,
the glowing embers a boundless source of power.
Measure wealth by how well you enjoy the hours.

Before Clocks
Campfire Stories: Volume II

To keep time meant music;
the steady rhythm of a beat,
the playful plucking of a string,
the full throb of a drum
sounding to the steps of feet.

To keep time meant stillness;
the steady passing of a day
no need for rush or delay
in the fluid timeline
of one’s own way.

To keep time meant tides;
the waxing and waning of the moon,
the easy pace of later, and soon,
the warmth of the sun
declaring high noon.

To keep time meant seasons;
the rippling rings of a tree,
the changing disposition of the sea,
the migration of harvests, leading us
to where we need to be.

And it always happened
right on time.