Sherman Alexie is a celebrated Native American writer, poet, and filmmaker whose works explore identity, heritage, and the struggles of contemporary Indigenous life. Born in 1966 and raised on the Spokane Indian Reservation, Alexie often draws from his own experiences of poverty, discrimination, and resilience. His writing blends humor, honesty, and pain, giving voice to Native communities often overlooked in mainstream literature. Best known for The Lone Ranger and Tonto Fistfight in Heaven and the award-winning novel The Absolutely True Diary of a Part-Time Indian, Alexie highlights themes of family, cultural survival, and the tension between tradition and modernity. His style mixes sharp wit with poignant storytelling, making his work both accessible and profound. Beyond literature, Alexie has contributed to film and spoken word, amplifying Native voices. Despite controversy in later years, his legacy remains influential in American literature.
Sherman alexie famous poems | Sherman alexie poems
When I was twelve, I shoplifted a pair
Of basketball shoes. We could not afford
Them otherwise. But when I tied them on,
I found that I couldn’t hit a shot.
When the ball clanked off the rim, I felt
Only guilt, guilt, guilt. O, immoral shoes!
O, kicks made of paranoia and rue!
Distraught but unwilling to get caught
Or confess, I threw those cursed Nikes
Into the river and hoped that was good
Enough for God. I played that season
In supermarket tennis shoes that felt
The same as playing in bare feet.
O, torn skin! O, bloody heels and toes!
O, twisted ankles! O, blisters the size
Of dimes and quarters! Finally, after
I couldn’t take the pain anymore, I told
My father what I had done. He wasn’t angry.
He wept out of shame. Then he cradled
And rocked me and called me his Little
Basketball Jesus. He told me that every cry
Of pain was part of the hoops sonata.
Then he laughed and bandaged my wounds—
My Indian Boy Poverty Basketball Stigmata.
Last night, in 7-11, the cashier reached
across the counter to scan my purchases
then grimaced and grabbed the small
of his back. I know that pain well
so I said, “I’ve got a bad back, too.”
He sighed and said, “It is the lifting,”
he said. “I lift too many bottles
and cans in the cooler.” He owns
the store, I think, because he seems
to work every shift just like my boss
who often worked the graveyard
shift with me at the 24-hour deli
in 1987. I was slender in those years
and a good athlete but my back still
ached. “It’s my long torso,” I said
to the 7-11 owner. “And my legs
are goofy short. I’m 6-2 standing up
and 6-8 sitting down. I’m a bad
lever.” Then I bent slightly
at the waist to give him visual
evidence and laughed when
that move made my back spasm.
“You are not old,” the 7-11 owner
said. “And I am not old. But we
are old.” I smiled at his poetic
observation then carefully carried
my purchases toward my car
but stopped first to give Jason,
the homeless man, all the stuff
that I’d bought for him: the Italian
sub sandwich, potato chips, Sprite,
and beef jerky for his dog, Lady.
I don’t know why Jason is homeless.
He uses a wheelchair. I fist-bump him
then I ease into my car and drive
away. I like to help the men and women
who sit outside convenience stores.
I rarely have cash to give them. Who
carries cash these days? Instead,
I buy them mostly food and drinks.
But I’ve also bought them medicine,
toothpaste, deodorant, and various
other toiletries, too. But I won’t buy
them cigarettes or booze. I always feel
hypocritical for making that tiny
moral stand. Why do I make myself
the judge? I haul around dozens
of my own addictions. Maybe
that’s why my back is bad. Onstage,
I used to tell audiences that my spine
was twisted from carrying the burden
of my race. I used to say that every
Indian struggles with a limp
in the bones and soul. But, then
again, I shouldn’t get too wrapped
up in my Indian-ness. All around me,
people of every kin and kind are
limping. Ah, the eternal diversity
of the limp! Ah, the endless variations
of the bent and busted back!
Last night, after I arrived home
from the 7-11, I saw that my friends
and family had sent me dozens
of texts and emails about Trump.
I read a few—all the rage, doubt,
and fear are justified—but I felt
my back spasm again. I didn’t want
to feel that weight so I deleted all
of the unread messages, links,
and emails. Then I lay flat
on the floor and talked aloud
to everybody in my life. Listen,
I said. You’re letting that man take
hours, days, weeks, months,
and years from your life. But more
than that, you’re letting him turn
you into the worst possible version
of yourself. He’s a contagion
and you’re coughing up blood.
There’s pieces of you splattered
across the screens of your phones,
tablets, and laptops. Yeah, I know
I was being a moralizing asshole
but the daily news is stripping
the flesh from my body and soul.
Yeah, I know that many people
are in danger but my solipsistic
fury doesn’t protect anybody.
I know, as a writer and an Indian
and an Indian writer that I am
expected to offer advice. But
I have nothing but this consolation:
Everything you’re feeling now
is what I’ve always felt
as a reservation-raised Indian.
And, hey, I’m a survivor. I’m 51%
intact. In this moment, as I write,
I can hear the bathroom fan
but I’m going to pretend
it’s the roar of a mythical
waterfall that the multitudes
of wild salmon are still
climbing. And, hey, I might
as well be a brown bear
fishing with my sharp claws.
Look at me! I’m carrying
a wild salmon in my teeth.
I’m going to feast then fall
and fall into a gorgeous
hibernation for at least
the next hour or three.
I’m going to rub my sleepy
eyes and pray that winter
will quickly change
into spring. I’m going to press
my bad back against the earth
and wait for everybody’s rebirth.
Hey, Indian boy, why (why!) did you slice off your braids?
Do you grieve their loss? Have you thought twice about your braids?
With that long, black hair, you looked overtly Indian.
If vanity equals vice, then does vice equal braids?
Are you warrior-pretend? Are you horseback-never?
Was your drum-less, drum-less life disguised by your braids?
Hey, Indian boy, why (why!) did you slice off your braids?
You have school-age kids, so did head lice invade your braids?
Were the scissors impulsive or inevitable?
Did you arrive home and say, "Surprise, I cut my braids"?
Do you miss the strange women who loved to touch your hair?
Do you miss being eroticized because of your braids?
Hey, Indian boy, why (why!) did you slice off your braids?
Did you weep or laugh when you said goodbye to your braids?
Did you donate your hair for somebody's chemo wig?
Is there a cancer kid who thrives because of your braids?
Did you, peace chief, give your hair to an orphaned sparrow?
Is there a bald eagle that flies because of your braids?
Hey, Indian boy, why (why!) did you slice off your braids?
Was it worth it? Did you profit? What's the price of braids?
Did you cut your hair after your sister's funeral?
Was it self-flagellation? Did you chastise your braids?
Has your tribe and clan cut-hair-mourned since their creation?
Did you, ceremony-dumb, improvise with your braids?
Hey, Indian boy, why (why!) did you slice off your braids?
Was it a violent act? Did you despise your braids?
Did you cut your hair after booze murdered your father?
When he was buried, did you baptize him with your braids?
Did you weave your hair with your siblings' and mother's hair,
And pray that your father grave-awakes and climbs your braids?
After driving all night, trying to reach
Arlee in time for the fancydance
finals, a case of empty
beer bottles shaking our foundations, we
stop at a liquor store, count out money,
and would believe in the promise
of any man with a twenty, a promise
thin and wrinkled in his hand, reach-
ing into the window of our car. Money
is an Indian Boy who can fancydance
from powwow to powwow. We
got our boy, Vernon WildShoe, to fill our empty
wallets and stomachs, to fill our empty
cooler. Vernon is like some promise
to pay the light bill, a credit card we
Indians get to use. When he reach-
es his hands up, feathers held high, in a dance
that makes old women speak English, the money
for first place belongs to us, all in cash, money
we tuck in our shoes, leaving our wallets empty
in case we pass out. At the modern dance,
where Indians dance white, a twenty is a promise
that can last all night long, a promise reach-
ing into the back pocket of unfamiliar Levis. We
get Vernon there in time for the finals and we
watch him like he was dancing on money,
which he is, watch the young girls reach-
ing for him like he was Elvis in braids and an empty
tipi, like Vernon could make a promise
with every step he took, like a fancydance
could change their lives. We watch him dance
and he never talks. It's all a business we
understand. Every drum beat is a promise
note written in the dust, measured exactly. Money
is a tool, putty to fill all the empty
spaces, a ladder so we can reach
for more. A promise is just like money.
Something we can hold, in twenties, a dream we reach.
It's business, a fancydance to fill where it's empty.
Buffalo Bill opens a pawn shop on the reservation
right across the border from the liquor store
and he stays open 24 hours a day,7 days a week
and the Indians come running in with jewelry
television sets, a VCR, a full-lenght beaded buckskin outfit
it took Inez Muse 12 years to finish. Buffalo Bill
takes everything the Indians have to offer, keeps it
all catalogues and filed in a storage room. The Indians
pawn their hands, saving the thumbs for last, they pawn
their skeletons, falling endlessly from the skin
and when the last Indian has pawned everything
but his heart, Buffalo Bill takes that for twenty bucks
closes up the pawn shop, paints a new sign over the old
calls his venture THE MUSEUM OF NATIVE AMERICAN CULTURES
charges the Indians five bucks a head to enter.
Sherman Alexie’s poetry stands as a powerful bridge between personal memory and collective history. His verses weave together humor, grief, resilience, and the complexity of Native American identity, making them deeply moving and universally relevant. Through sharp imagery and raw honesty, Alexie not only tells stories of struggle but also celebrates survival and cultural strength. His poems invite readers to reflect on themes of belonging, injustice, and hope, leaving a lasting impression long after the final line. In exploring his best works, we witness a voice that reshapes contemporary American poetry with authenticity and truth.

