Classic and Contemporary Poetry: Explained

"The Locusts, The Plaza, The Room" by Weldon Kees is a haunting reflection on the intersection of personal memory, historical atrocity, and the passage of time. Through vivid imagery and a tone that oscillates between resignation and lament, Kees explores themes of loss, disillusionment, and the lingering impact of past traumas.

The poem begins with a powerful visual: "The wings fold fanwise and then snap like knives." This image of locusts, which simultaneously evokes beauty and violence, sets the stage for a narrative that is both striking and unsettling. The locusts rising "beyond the mountains, clouds of locusts rose, sucked into the / West," symbolize a pervasive and consuming force. The juxtaposition of "little dogs danced in the streets and strangely moaned" creates a surreal scene where joy and distress coexist, hinting at the complex emotions that the poem will explore.

Kees then shifts to a more personal reflection: "I used to watch all this. / Atrocities outside the plaza, something about a stain / Somebody saw, reports of scuffles on a stair." These lines suggest a past filled with violence and chaos, with "atrocities" and "scuffles" hinting at both public and personal conflicts. The reference to "The Japs, maybe" evokes the historical context of World War II, bringing a specific era's fear and xenophobia into the personal narrative. The speaker's repeated refrain, "I used to believe all this," indicates a profound disillusionment with the narratives that once shaped their understanding of the world.

The poem then moves to an intimate scene: "You woke me as they turned the streetlights off. / Then new lights raced across the wall from windows to the / door." The transition from public turmoil to private moments underscores the tension between external chaos and personal connection. The act of making love while bombers roar by juxtaposes tenderness and violence, creating a moment of intense vulnerability. The line "The room rocked and the world closed in your eyes" encapsulates the fusion of personal and global events, where intimate experiences are inextricably linked to the larger world.

Kees reflects on the present state of the plaza and the world: "And now the plaza drenched in rain, the locusts migrants else- / where." The rain symbolizes cleansing and renewal, yet the mention of locusts being "contemptuous with their knowledge of this gutted place" suggests a disdain for the ruins left behind. The speaker's grief is palpable in the line "And / you, you, / Dead with the rest," mourning a lost lover or companion amidst a broader sense of devastation.

The poem concludes with a poignant self-reflection: "—What have they done to me, what have I / Done to myself, entranced these days by only surfaces / Of smooth and curious stones, the wet leaves falling?" The speaker questions their own role in their current state, acknowledging both external influences and personal choices. The focus on "surfaces" and "smooth and curious stones" suggests a retreat into superficiality and a detachment from deeper meanings. The imagery of "wet leaves falling" evokes a sense of decay and the passage of time, reinforcing the theme of loss.

In the final line, "And now I live like this," the speaker resigns themselves to a life marked by disillusionment and a haunting connection to past traumas. The poem's structure, with its shifting focus between personal and historical, intimate and public, creates a multifaceted exploration of memory and identity.

"The Locusts, The Plaza, The Room" by Weldon Kees masterfully intertwines the personal and the historical, capturing the profound impact of past events on the present self. Through its vivid imagery and reflective tone, the poem invites readers to consider the ways in which we are shaped by our experiences and the enduring resonance of our memories.

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