“Reservation Love Song” was published in 1992—the same year Laura Coltelli published Winged Words: American Indian Writers Speak. In her book, Coltelli interviews famous Indigenous writers—Joy Harjo, Linda Hogan, Simon Ortiz, among them—about Indigenous representation, myths, and stereotypes. Many of the authors agree that Indigenous writers should make readers examine what the United States government did to Indigenous people. Thus, Alexie’s poem is part of this movement to give voice to the realities of Indigenous life. Using humor, Alexie forces readers to confront alcoholism, lackluster government support, and other disquieting elements often found on reservations across America.

In 1992, James R. Kincaid wrote an article called “Who Gets to Tell Their Stories?” (The New York Times Book Review) that Alexie credits with pushing him into the limelight. Kincaid reviewed Coltelli’s book and the work of other Indigenous authors, including Alexie’s book The Business of Fancydancing. Kincaid describes Alexie’s work as “wonderfully grounded, often comically, and usually poignantly.” These qualities are on full display in “Reservation Long Song.”

Another literary context for “Reservation Love Song” is Postmodernism. Postmodernists focus on playfulness, symbolism, and experimentation. Postmodernists reject the highbrow/lowbrow binary associated with Modernism.