Classic and Contemporary Poetry: Explained

"Afterwards, They Shall Dance" by Bob Kaufman is a poem rich with cultural and literary references, blending surreal imagery and poignant reflections on the lives and deaths of iconic figures. The poem navigates through an array of emotions and historical moments, painting a vivid picture of loss, remembrance, and the enduring power of art.

The opening line, "In the city of St. Francis they have taken down the statue of ......... St. Francis," sets a tone of displacement and loss. The ellipsis suggests something unsaid or unfinished, perhaps indicating a shift from established norms or the fall of ideals. The image of hummingbirds "protest[ing], humming ......... feather poems" infuses the scene with a sense of delicate defiance, where even nature responds to changes with a poetic expression.

Kaufman references Maxwell Bodenheim, a poet and novelist known for his bohemian lifestyle, describing him as someone who "denounced everyone and wrote." Bodenheim's lack of "sweet marijuana dreams" suggests a sober, perhaps disillusioned view of the world. The phrase "Patriotic muscateleer, did not die seriously, no poet love to ......... end with, gone," evokes a sense of an artist who, despite his patriotism and passion, left behind a life without a satisfying resolution or romantic closure.

The mention of Dylan Thomas, the Welsh poet, provides a juxtaposition of the poetic and the mundane: "Dylan took the stone cat's nap at St. Vincent's, vaticaned ......... beer, no defense." This line captures the tragic end of Thomas's life, who died after a drinking binge. The reference to "vaticaned beer" and "no defense" suggests a paradox of sacred and profane, highlighting the inevitability of his demise. Thomas's "nun-filled room" and the "insult to the ......... brain, nerves" point to the discord between his poetic genius and the destructive lifestyle that contributed to his early death. The imagery of "white horses, beer birds, snore ......... poems" conjures a dreamlike, almost mythological vision of his homeland, Wales, mixed with the banal realities of his life and death.

Billie Holiday's eternal presence in the subway, "lost on the subway and stayed there ......... forever," symbolizes a kind of haunting endurance. Her creation of "little peace-of-mind gardens in out of the way ......... stations" represents her lasting impact through music, offering solace in unexpected places. Her legacy, encapsulated in "jazz silence forever, ......... loved," underscores the timelessness of her art and the quiet, enduring influence she holds.

Kaufman reflects on his personal state, "My face feels like a living emotional relief map, forever wet," expressing a deep, ongoing emotional experience. The metaphor of a "living emotional relief map" suggests a face marked by the contours of life’s experiences and sorrows. The anticipation of "my own wild gardening" symbolizes a readiness for creative or personal growth, despite the emotional toll.

The poem continues with a nod to Edgar Allan Poe, "Poor Edgar Allan Poe died translated, in unpressed pants, ......... ended in light." This line highlights the tragic and often misunderstood life of Poe, who ended up immortalized in the literary canon despite a life of hardship. The "ecstatic gold bugs" reference his story "The Gold-Bug," while the "hegira blessed ......... by Baudelaire's orgy" connects Poe's gothic sensibilities with Baudelaire's admiration and the decadent literary movement.

Kaufman touches on the existential aspect of being a poet: "Whether I am a poet or not, I use fifty dollars' worth ......... of air every day, cool." This statement underscores the poet's ambivalence about his own identity while emphasizing the fundamental act of breathing, an essential and unquantifiable resource. His self-deprecation continues with the image of hiding "behind stacks of red and blue poems," possibly suggesting political or emotional camouflage, and opening "little sensuous parasols," a whimsical defense against the world's harsh realities.

The poem closes with a mix of irony and resilience: "singing the nail-in......... the-foot song, drinking cool beatitudes." The "nail-in-the-foot song" evokes pain and sacrifice, akin to crucifixion imagery, while "drinking cool beatitudes" suggests finding solace or spiritual refreshment amidst suffering.

"Afterwards, They Shall Dance" captures a tapestry of cultural icons, personal introspection, and societal critique. Through its rich, fragmented imagery and references, Kaufman explores themes of artistic legacy, existential questioning, and the contrast between public personas and private struggles. The poem is a tribute to the complexity of life and the enduring nature of art, even in the face of death and disillusionment.

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