Beware: Do Not Read This Poem

In the first lines of the poem, the speaker starts out describing the unfortunate end a vain woman came to.
She surrounded herself with mirrors, that is, until the villagers entered her home, and she was forced to
disappear into one. These relatively straightforward details have a clearly fantastical element to them. The
speaker describes how the woman haunted the home, making various men and women disappear.
The speaker transitions into speaking about the poem itself and how, like the mirror, it consumes people.
Many are like “you.” By using second-person pronouns, the reader becomes part of the narrative. Here, the
language changes again, and readers find themselves engaged with more colloquial speech with
misspellings and more.
Themes : Throughout this poem, the poet engages with themes of isolation and reality. Isolation is seen
right from the beginning with the woman who hides away in her home with only her mirrors for company.
She’s so desperate to remain on her own that she jumps into a mirror to stay away from the villagers. At the
same time, she takes people into the mirror, a seemingly desperate attempt to remedy her isolation. Just as
the mirror absorbed the woman, so too can this poem absorb a reader. No matter how fulfilling it seems,
reality can’t be fully explored within the confines of a mirror or poem. At the same time, the poet is
alluding to a deeper theme of cultural dominance and prominence. The poem is a protest against singling
out one culture or way of life as better or more worthy than another.
Structure and Form : ‘Beware: Do Not Read This Poem’ by Ishmael Reed is a twelve-stanza poem that is
separated into uneven sets of lines. These lines are written in free verse. This means that they do not
conform to a specific rhyme scheme or metrical pattern. They vary in length, ranging from one word up to
eight or more. Despite this, Reed does use a variety of literary devices that help give the poem a feeling of
unity and inspire the reader to explore its lines more than once.
Literary Devices : Throughout this poem, Reed makes use of several literary devices. These include but are
not limited to:
Alliteration: occurs when the poet uses the same consonant sound at the beginning of a word. For
example, “locked” and “life” in stanza three.
Enjambment: This can be seen when the poet cuts off a line before its natural stopping point. Almost every
line in this poem is enjambed.
Caesura: occurs when the poet inserts a pause into the middle of a line of text. For example, “you are into
this poem. from” and “move & roll on to this poem.”
Allusion: seen when the poet references a piece of information that’s not completely described in the text.
It may require extra research to understand fully.
Detailed Analysis
Stanzas One-Three
tonite, thriller was about an old woman, so vain she (…)
whole life became the mirrors
In the first lines of ‘Beware: Do Not Read This Poem,’ the speaker begins by telling the reader about an old
woman. She was “so vain” that she surrounded herself with many mirrors. Considering these first lines and
the title, it quickly becomes clear that this poem is a cautionary tale. Readers should expect to learn
something or be reminded of something by the end.
The woman’s vanity got so bad that she confined herself to a room. Her entire life became about the
mirrors. These lines set up the background to what feels like a dark fairy tale or piece of folklore.
Stanzas Four and Five
one day the villagers broke
(…)
then the young woman’s husband
In the next two stanzas, the speaker goes on to say that one day villagers broke into her home, and she
disappeared into a mirror. This element of magic confirms the folklore atmosphere of the poem. She
haunted the house from within her mirror, ensuring that everyone who lived there lost a loved one. They
ranged from a little girl to a young woman and then “the young woman’s husband.” It’s at this point that
the poem makes its first of two distinct shifts.
Stanzas Six and Seven
the hunger of this poem is legendary
it has taken in many victims
(…)
it has drawn in your legs
back off from thias poem
it is a greedy mirror
you are into this poem. from
The poem changes in the sixth stanza. It’s now directed to the reader, using second-person pronouns like
“you” and “your.” The poet wrote these lines as though the poem itself was an entity that needed to be
watched and monitored. It has “taken many victims,” the speaker says, and now it’s sucking in “your feet”
and then “your legs.” It’s important to back away from these words, the poet adds.
For readers, it’s important to consider the nature of the language in these lines. There are distinct shifts
between more formal and more colloquial speech in these lines. It is part of the meaning of this poem and
how the writer wanted readers to consider language and culture.
Stanzas Eight and Nine
the waist down
nobody can hear you can they?
this poem has had you up to here
belch
(…)
this poem has his fingers
this poem has his fingertips
The language becomes even more relaxed in the next lines as the speaker uses words like “ain’t” and
phrases like “got no manners.” This is a common feature of Reed’s poetry. He often wrote from his specific
African American perceptive, using language and syntax that’s recognizable in his community.
By this point in the poem, the words have taken the reader over. It has “your eyes” and “his head.” There
doesn’t appear to be any way to stop the progression.
Stanzas Ten-Twelve
this poem is the reader & the
reader the poem
(…)
a space in the lives of their friends
The poem ends with a striking transition to statistics. The speaker reports that “in 1968 over 100,000
people / disappeared leaving no solid clues.” The poem is responsible, as the mirror was, for consuming
people. There was no trace of these men and women, “only / a space in the lives of their friends.” Readers
should also note the use of spaces in these final lines, alluding to what’s been lost and hopefully inspiring
readers to consider what would fill the metaphorical blank spaces.
What is the purpose of ‘Beware: Do Not Read This Poem?’
The purpose is to caution readers against becoming too obsessed or consumed by one way of life or one
cultural point of view. Just like the old woman, and like “you” in the second section, it’s easy to get sucked
in and forget about everything else.
What is the tone of ‘Beware: Do Not Read This Poem?’
The tone is cautionary and explanatory. The poet’s speaker addresses the reader, attempting to ake it clear
that becoming too attached or consumed by this poem or any other is a negative..
Why did Reed write ‘Beware: Do Not Read This Poem?’
Reed wrote ‘Beware: Do Not Read This Poem’ in order to explore, in his characteristic style, the nature of
culture and language and how one makes the other. He wanted readers to consider how the two come
together and what it means to explore more than one culture/language.
When was ‘Beware: Do Not Read This Poem’ published?
‘Beware: Do Not Read This Poem’ was published in Catechism of d neoamerican hoodoo church in 1970.
But, it was written two years earlier, in 1968. The poem was later republished in a new collection of his
verse in 1972.
Why is ‘Beware: Do Not Read This Poem’ so popular?
This poem is so popular because of the unique way it approaches its subject. The poem requires readers to
understand the underlying meaning behind the folk tale while at the same time analyzing the language the
poet uses.

THE RAVEN Overview

Edgar Allan Poe’s The Raven is a narrative poem first published in 1845 that unfolds as a bereaved lover,
mourning his lost Lenore, is visited by a mysterious raven late at night. The bird speaks a single word—
nevermore—intensifying the man's grief over lost love. Through vivid and melancholic language, Poe crafts
a Gothic atmosphere, exploring themes of despair, the descent into madness, and the relentless sorrow of
a broken heart. The Raven remains an enduring classic, celebrated for the psychological depth it brings to
the exploration of sorrow and the mysteries of the afterlife.
Analysis of Speaker
The poem follows the unnamed speaker as he succumbs to his grief over the loss of his love, Lenore. Even
before the raven appears, the speaker is “weak and weary,” presumably from the strain of grief. His worn-
out state makes him restless and uneasy, which is clear when he has to remind himself that the knock at his
door is probably from a visitor and not anything more sinister. Nevertheless, in the first few stanzas, the
speaker appears relatively in control of his emotions, despite signs that his nerves are fraying. When he
initially sees the raven, he acts amused, asking it its name in comically dramatic, lofty terms. Even after it
first states its ominous refrain, the speaker rationalizes the bird’s behavior instead of succumbing to panic
or despair. Stanza 13 marks a turning point for the speaker’s mental state because the word “nevermore”
reminds him that he will never see Lenore again. He tries to force himself to forget Lenore, but then, in
Stanza 15, he begins addressing the raven with pointed questions about her, as if begging the bird to give
him some hope that his grief will end. As far as the speaker knows, the bird can only say, “Nevermore.”
Thus, these questions represent the speaker projecting his own hopelessness onto the raven, forcing it to
remind him that he will never see Lenore again and never be able to forget her. The speaker is not really
asking the bird for answers so much as torturing himself with its refrain. That he then lashes out at the bird
for providing the answer he knows it will give shows how fragile his mental state has become. The poem
ends with the speaker defeated by grief, which he depicts by describing the raven’s shadow hanging over
his soul.
An unnamed speaker sits in his chamber on a dreary December night, reading old, esoteric books. He
dearly misses his love, Lenore, who presumably died recently, and he hopes that reading will distract him
from his loss. He has nearly fallen asleep when he suddenly hears someone—or something—knocking on
the door. He’s instantly uneasy but reassures himself that it’s probably just a visitor. He calls out,
apologizing for his delayed response. However, when he opens the door, no one is there. He whispers,
“Lenore,” to the darkness outside but hears only his words echo back at him. Ominously, the knocking
continues, this time from the window. The speaker assumes it is the wind but still feels uneasy. He opens
the window shutters, and a raven hops in, perching on a bust of the Greek goddess Pallas Athena above the
chamber door. The sight of the bird relieves the speaker momentarily. He jokingly asks the bird’s name. To
his utter shock, the raven cries out, “Nevermore.”
The speaker is stunned and unsure of the raven’s meaning. He regains his composure and whispers that
the bird will fly away soon. The raven responds again, “Nevermore!” Still trying to console himself, the
speaker theorizes that the bird must have an owner who taught it to say that one hopeless word. Curious,
the speaker moves his chair in front of the raven. He lounges in the chair, pondering the raven for a few
moments. He thinks about how Lenore will never again lounge upon this chair. He admonishes himself—
God has granted him this one respite from his guilt, and still he thinks of Lenore. He tells himself to forget
Lenore. As if in response, the raven says again, “Nevermore.” Now the speaker addresses the bird, calling it
“evil” and a “prophet.” He asks if he will ever find relief. The raven says, “Nevermore.” He asks whether he
will hold Lenore when he reaches Heaven. The raven replies, “Nevermore.” Enraged, the speaker orders the
raven to leave him alone in his chamber. He accuses the raven of lying and shouts for it to get out. Without
moving at all, the bird repeats its sole refrain—"Nevermore.” The speaker concludes that the raven still sits
upon the bust of Pallas Athena, c
A windigo (or wendigo) is a supernatural being belonging to the spiritual traditions of Algonquian-speaking
First Nations in North America. Windigos are described as powerful monsters that have a desire to kill and
eat their victims. In most legends, humans transform into windigos because of their greed or weakness.
Various Indigenous traditions consider windigos dangerous because of their thirst for blood and their ability
to infect otherwise healthy people or communities with evil. Windigo legends are essentially cautionary
tales about isolation and selfishness, and the importance of community.
Definition
According to most Algonquian oral traditions, a windigo is a cannibalistic monster that preys on the weak
and socially disconnected. In most versions of the legend, a human becomes a windigo after his or her spirit
is corrupted by greed or weakened by extreme conditions, such as hunger and cold. In other legends,
humans become windigos when possessed by a prowling spirit during a moment of weakness.
Depending on the many First Nations that speak an Algonquian language, including the Abenaki, Siksika,
Mi’kmaq, Algonquin, Ojibwe and Innu, the spelling and pronunciation of the word “windigo” differs.
Wendigo, wheetigo, windikouk, wi’ntsigo, wi’tigo and wittikka are all alternative versions of the same term.
Other names, such as atchen, chenoo and kewok, are also commonly used to refer to the windigo.
Appearance and Characteristics
Just as there are different versions of the word “windigo,” there are many variations on the creature’s
appearance and powers. Sometimes, windigos are described as exceptionally thin, with the skull and
skeleton pushing through its ash-coloured, mummy-like skin. Other stories describe the windigo as a well-
fleshed giant who gets proportionately larger the more it eats. According to other legends, the windigo has
pointed or animal-like ears with antlers or horns sprouting on its head. A windigo’s eyes have been
described as sunken or glowing like hot coals. Sharp and pointy teeth, extremely bad breath and body
odour are also often traits of a windigo.
The windigo is usually, but not always, endowed with powers, such as superhuman strength and stamina
that allow it to stalk, overpower and devour its victims. Windigos are usually credited with exceptional
eyesight, hearing and sense of smell. They are said to move with the speed of the wind and have the ability
to walk across deep snow or even over open water without sinking.
According to some legends, windigos can be killed with a conventional weapon, such as a club or firearm.
Other legends claim that the windigo has to be somehow subdued, its icy heart cut out and then melted in
a roaring fire. Still other legends claim that only a knowledgeable First Nations spiritual leader, a shaman,
can dispatch a windigo with a specific spell and ceremony.
Origin and History
The windigo legend existed in Algonquian oral history for many centuries, long before Europeans arrived in
North America. However, the first European-written account of a windigo was by Paul Le Jeune, a Jesuit
missionary who lived among the Algonquin people in the early-17th century in what is now Quebec. In a
report to his superiors in Paris in 1636, Le Jeune wrote:
This devilish woman…added that [the windigo] had eaten some Attikamegoukin — these are the tribes that
live north of the River that is called Three Rivers — and that he would eat a great many more of them if he
were not called elsewhere. But that Atchen (sort of a werewolf) would come in his place to devour them…
even up to the French Fort; that he would slaughter the French themselves.
Father Le Jeune’s report demonstrates that 17th-century Europeans believed in evil supernatural spirits just
as strongly as their First Nations contemporaries. In fact, Father Le Jeune’s report predates the Salem Witch
Trials by nearly 60 years. Missionaries in what became Canada continued to report legends of the windigo
until well into the 20th century.
Stories could also be found on the Western frontier in the 1800s, among Plains Indigenous peoples and
employees of the Hudson’s Bay Company (HBC). Some HBC traders’ records describe encounters with
Indigenous spiritual leaders claiming to descend into “fits” of religious passion. Indigenous peoples often
accused these people of being windigos; HBC traders sometimes described them as mad. In some cases,
community members or relatives of the accused killed the suspected windigo as a precaution. In one
example, three men killed Cree spiritual leader Abishabis after he became greedy and killed an Indigenous
family — which led others to believe that he was a windigo.
Windigo Psychosis
In the early 20th century, the term “windigo” found its way into the Western medical vocabulary. It was
used by early psychiatrists to refer to a mental condition in which patients felt possessed by cannibalistic
desires. Oblate Missionary J. E. Saindon was the first to use the term in the 1920s while working in a Cree
community in the western James Bay area. There he met a woman who claimed that she saw strangers
who wanted to kill and devour her. Saindon referred to the woman’s mental condition as a
“psychoneurosis” — a mental or behavioral disorder, characterized by depression and anxiety. Overtime,
the condition came to be known as the Windigo Psychosis. However, whether this is a real affliction is still a
highly disputed discussion among the medical community.
Symbolism and Meaning
Legends of the windigo reveal much about the beliefs, ways of life, social structures and traditions of the
people who tell these stories. For some, windigo legends serve as reminders of the importance of
community, and more importantly, about what can happen when individuals are left outside of the
community. One recipe for creating a windigo — extreme hunger, cold and isolation — were ever-present
and threatening facts of life for many First Nations people living in the northern boreal forests. In fact, most
windigo stories begin with an individual or small group trapped in the wilderness without food, for an
extended period, alone and in the cold. Windigos were said to kill lonely travellers or a member of a group
and then take on their personality temporarily, before eventually killing other humans it encountered.
Similarly, a windigo’s legendary greed represented attitudes about sharing in many Indigenous cultures. In
the wilderness, human survival often depended on communal cooperation and the sharing of food and
possessions. Any individual who refused to share local resources, especially in times of great deprivation,
was considered a “monster.” According to historian Shawn Smallman, the windigo is still seen as a symbol
of greed in modern society, as manifested in capitalism and corporate consumerism.
The creature has also come to serve as a metaphor for the injustices that Indigenous peoples have faced in
Canada, including residential schools, the restriction of rights in the Indian Act, the Sixties Scoop and
similarly assimilative policies. Armand Ruffo’s film, A Windigo Tale (2010), for example, uses the monster to
tell a story about the intergenerational trauma of residential schools. For some Indigenous persons, the
windigo represents the forces of colonization. (See also Imperialism.)
In Popular Culture
Unlike the mythological creatures that have been popularized in European culture for centuries, such as
vampires and werewolves, Western popular culture has only discovered the windigo relatively recently.
However, there are now many films, graphic novels (Mathieu Missoffe’s Curse of the Wendigo, for
example), television shows and comics (Marvel’s Wendigo) based on tales of the windigo. The creature has
also inspired artworks by Norval Morrisseau and literary works by Basil H. Johnston, Margaret Atwood,
Tomson Highway and Joseph Boyden. These new media add to the diversity of the legend and to the ways
that it is interpreted by Indigenous and non-Indigenous peoples alike.