Summary Of The White Judges By Marilyn Dumont

In the poem “The White Judges” by Marilyn Dumont, the speaker is aware of how her and her Indigenous family are constantly being judged by white society. The poem juxtaposes the family with the encircling colonialists who wait to demean and assimilate the group. The family internalizes a sense of shame and guilt while being surrounded by the primarily white population. Consequently, the family faces the pressures of being judged for their cultural practices. Dumont’s use of prose and lyrical voice distinctly highlights the theme of being judged by white society. Her integration of figurative language enhances the Indigenous tradition and cultural practices throughout the poem. As well as her use of anaphora and musicality which amplifies the

feeling of being watched and judged. Dumont renders the disapproval and oppressiveness the speaker’s family experiences through her use of structure, sound, and figurative language.
Dumont writes in two types of structures, prose and lyrical, that contribute to the overall thematic concern of confining to the white culture, which limits the Indigenous household. The poem begins in prose form, which outpours like conversation. As a result, the prose structure creates a very warm, homelike feeling. The prose paragraph describes the speaker’s home life and provides a backstory for the reader. It is evident that there is a sense of family belonging through the speaker’s description of their home: “our walls high and bare except for the / family photos whose frames [are] crowded with siblings” (8). Undoubtedly, the family is large and fellowship with one another is an important aspect of their home life. Next, the poem abruptly switches to a lyrical voice adding a sense of musicality and anaphora. The shift emphasizes the change the speaker and her family feel when they acknowledge they are being judged by the white population. As a result, the poem first appears very uniform, then as “the white judges” (10), watch the poem drastically switches, appearing chaotic and unorderly in lyrical form. The switch occurs quite early in the poem:
At supper eleven of us would stare down a pot of moose stew, bannock, and tea, while outside the white judges sat encircling our house.

And they waited to judge

waited till we ate tripe
watched us inhale its wild vapour (9-14).

As a result of the strong feeling of judgement, the white judges are elevated to the level of a symbol. For example, the poet figuratively places the judges around the family’s house while they enjoy a meal. Taken together, Dumont’s structure choice helps the reader to identify the period when the family begins to experience shame and guilt as a result of judgement.
Dumont incorporates figurative language into the lyrical section of the poem to emphasize her Indigenous culture and tradition.

She elaborates on the traditional act of hunting through a simile: “my mother would lift and lay it in place / like a dead relative” (40-41). The relation to a dead relative shows reverence and respect for the animal. The white judges also observe the practice of “praying, coaxing, and thanking” (42), the dead animal as the speaker describes her mother performing the cultural practice of preparing the meat. Dumont’s use of description adds imagery to the poem as she states, “until we had become it and it had become us” (20), further noting the cultural and spiritual connection with animals. Overall, this incorporation provides the reader with information about the Indigenous culture and

tradition.
In the same way, Dumont uses figurative language to emphasize the marginalization the Indigenous family experiences. The poem provides a great sense of family bonding and cultural togetherness, as Dumont describes with a simile, “all nine kids and the occasional friend slept upstairs like cadets in rows,” creating an image of closeness within the family (4). Although the family is close, they see the efforts of marginalization when, “the cardboard boxes / [are] anonymously dropped at [their] door, spilling with clothes,” (21-22), suggesting that they should conform to the norms of the predominantly white population. The anonymous donation boxes provide a cold and charitable tone, adding to the idea of adapting to the surrounding norms. In turn, the family’s isolation from society allows them to have a great sense of togetherness and cultural fellowship, resulting in positive effects on the household, even as they experience the uncomfortable judgement.
Dumont’s use of sound and musicality in the lyrical portion of the poem strengthens and builds the feeling of being watched and judged.

The repetition of the words “waited” (13), and “watched” (14), throughout the stanzas adds anaphora and mystery to the vivid disapproval surrounding the family. Moreover, the use of repetition deepens the focus on the shame and guilt the young girl and her family are experiencing. The anaphora used throughout the poem intends that there is something being waited for. Therefore, the colonialist settlers are continuously waiting and watching for something to happen. In the last stanza Dumont states, “Or wait until a fight broke out” (55), suggesting that this is the action being waited for. As a result, the negative action causes the family to feel shame and regret. Overall, the use of musicality and anaphora successfully allows the reader to experience the pressure of

judgement.
The poet’s use of shifting structure, anaphora, and figurative language proves the oppressed nature and condemnation the speaker and her family experience. Dumont’s use of prose and lyrical form emphasizes the theme of conforming to white society and customs, consequently limiting the Indigenous family. Her incorporation of figurative language accentuates her Indigenous tradition and cultural practices. Throughout the lyrical section of the poem, she uses sound and musicality which adds persistence to the judgement. Dumont leaves the reader with the idea of guilt and shame, which successfully leads into assimilation.