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In response to <strong>the</strong>se killings, and probably knowing <strong>the</strong> victims, Terry<br />
composed an oral poem titled “Bars Fight.” It is both a memorial for those<br />
settlers who were killed, captured, and injured and a denigration <strong>of</strong><br />
<strong>Indigenous</strong> peoples. It is not clear when she produced <strong>the</strong> poem, but it is<br />
very likely that she shared it shortly after her emancipation. It begins,<br />
August ‘twas <strong>the</strong> twenty-fifth,<br />
Seventeen hundred forty-six;<br />
The Indians did in ambush lay,<br />
The names <strong>of</strong> whom I’ll not leave out. 27<br />
She <strong>the</strong>n lists <strong>the</strong> names <strong>of</strong> those affected. The poem was preserved<br />
orally until 1855, when Josiah Gilbert Holland published it. 28 It<br />
demonstrates <strong>the</strong> persistent narratives that settlers make in a society: when<br />
<strong>Indigenous</strong> peoples commit an act <strong>of</strong> armed struggle, it is a slaughter, but<br />
when white people do it, it is a great victory. It also illustrates <strong>the</strong> role <strong>of</strong><br />
popular culture in passing down memorials <strong>of</strong> settlers. It is not surprising<br />
that she sided with whites. As a devout Puritan, she grew up in a town<br />
where describing <strong>Indigenous</strong> peoples as bloodthirsty savages was <strong>the</strong><br />
norm. 29 Lucy Terry’s poem, its subject an incident on <strong>the</strong> eve <strong>of</strong> <strong>the</strong> French<br />
and Indian War, was passed down several generations before <strong>the</strong> Civil War.<br />
It presents <strong>the</strong> complications <strong>of</strong> <strong>Indigenous</strong> Africans growing up in a<br />
society predicated on enslavement and dispossession.<br />
Lucy Terry <strong>of</strong>fers a cautionary tale. Although she was an <strong>Indigenous</strong><br />
person, she was kidnapped and reprogrammed into a settler society that<br />
actively hated <strong>Indigenous</strong> peoples <strong>of</strong> <strong>the</strong> nor<strong>the</strong>ast. <strong>An</strong>d she contributed to a<br />
narrative that memorialized <strong>the</strong> killing <strong>of</strong> <strong>Indigenous</strong> peoples. As historian<br />
Ibram Kendi writes in Stamped from <strong>the</strong> Beginning, “Racist ideas are ideas.<br />
<strong>An</strong>yone can produce <strong>the</strong>m or consume <strong>the</strong>m.” 30 If anyone can reproduce<br />
racist ideas, <strong>the</strong>y can also replicate settler-colonial ideas about Native<br />
people, even o<strong>the</strong>r <strong>Indigenous</strong> peoples. Racist or settler-colonial ideas are<br />
not divorced from histories <strong>of</strong> violence. However, reproducing an idea is<br />
not <strong>the</strong> same as having <strong>the</strong> power to use a narrative in order to commit<br />
violence. Even today, <strong>Indigenous</strong> people become enraged when Black<br />
people discursively erase <strong>Indigenous</strong> peoples; however, discourse is<br />
connected to power, and Black people don’t have <strong>the</strong> power to subjugate<br />
<strong>Indigenous</strong> peoples.