N. Scott Momaday's In the Presence of the Sun: Stories and Poems 1961-1991 is a vibrant tapestry of prose and poetry spanning various themes and cultural reflections. This collection is divided into four sections, each offering a unique perspective on life, myth, and legacy. Through both previously published and new works, Momaday explores the intricate relationship between cultural history and personal identity.

Previously Published and New Works

The collection opens with twenty-nine works previously introduced to readers, including notable poems such as "The Bear," "The Angle of Geese," and "The Gourd Dancer." The final section presents twenty-seven new poems, showcasing Momaday's evolving voice and thematic experimentation. These poems delve into philosophical musings on life and death, cultural continuity, and the artist's place in the natural world.

Poetic Explorations: Death, Tradition, and Myth

In "Angle of Geese," Momaday juxtaposes natural death with societal perceptions, offering a contemplative meditation on mortality. "The Gourd Dancer" serves as a tribute to the poet's grandfather, honoring his life and the traditions he upheld. The "Billy the Kid" verses explore myth-making, portraying Billy as a complex figure of both brutality and allure, navigating the violent landscape of the Old West without a clear path forward. This poetic sequence traces the infamous outlaw's journey toward his fateful encounter with Pat Garrett.

A Gathering of Shields: Cultural Significance and Narratives

"A Gathering of Shields" is an imagistic collection celebrating the spiritual and cultural essence of Plains Indian shields. Accompanied by ink drawings, these shields are presented in a ritualistic context, highlighting their multifaceted roles beyond mere weaponry. Numbering sixteen, these stories invoke the sacredness of the number four, representing a heightened spiritual power.

Each shield carries the legacy of its bearer, such as "The Shield That Was Touched by Pretty Mouth" and "The Shield That Was Brought Down from Tsoai," both imbued with historical significance. Conversely, "The Shield of Which the Less Said the Better" illustrates the loss of cultural value, commodified by outsiders. The concluding shield, "The Shield of Two Dreams," symbolizes the transmission and transformation of tradition through generations, reflecting Momaday's belief in the continuity and adaptation of cultural heritage.

New Poems: Reflections on Nature and Identity

The newer poems feature "The Great Fillmore Street Buffalo Drive," capturing a poignant moment of historical violence as buffaloes are driven to their demise against the Pacific Coast's unforgiving landscape. Yet, through a dream, one buffalo finds solace, merging with the canyon's shadows and embodying a return to nature. Poems like "Wreckage" and "Mogollon Morning" position the poet amid nature's grandeur, learning wisdom from its interplay of light and shadow.

In "At Risk," Momaday finds resonance with ancient cave painters, identifying with their artistic expressions and seeing himself reflected in the timeless dance of animals on cave walls. This poem concludes the collection on a note of introspection, underscoring Momaday's journey toward a poetic identity that embraces his diverse cultural roots.