Classic and Contemporary Poetry: Explained

In "Four Poems About Jamaica: 2. Jamaicans Posing to be Photographed," William Matthews delves into the cultural and historical implications of photography, particularly as it intersects with the lives of Jamaicans being photographed. The poem explores themes of communication, identity, and the complex power dynamics involved in the act of taking and posing for photographs.

The poem opens with a striking interaction: "Illiterate Esther watched me / closing a book and asked, / Can you hear from the dead / with that box? God yes." This exchange highlights a gap in understanding and a poignant curiosity from Esther, who perceives the book—referred to metaphorically as a "box"—as a potential means of communication with the dead. The speaker's response, "God yes," can be read as an affirmation of the power of books (and language) to connect us with past voices and histories, though it also carries an ironic undertone, acknowledging the mystical or misunderstood perception of books and their contents.

The speaker then shifts focus to the day's activities: "Today I take pictures. / My subjects are full dress. / My subjects!" The exclamation here reveals a self-consciousness about the term "subjects," hinting at the colonial or authoritative connotations it carries. The speaker acknowledges the language they "live by," recognizing that it "carries so much history" and feeling "embarrassed" by it. This embarrassment stems from the awareness that language, while a tool for expression and connection, also bears the weight of historical power imbalances and the "exact parlor tricks" that can manipulate or distort reality.

As the Jamaicans pose for photographs, they adopt "full dress, historical / posture," suggesting a formality and gravity in their presentation. The reference to "running for office or these were wedding / pictures" points to the significance of these photographs. They are not casual snapshots but are imbued with meaning and purpose, possibly reflecting how they wish to be perceived or remembered. The mention of weddings, in particular, underscores the influence of cultural norms and the importance placed on such events, especially in the eyes of "white folks."

The poem's focus narrows to specific individuals: "Somber Ronald, / age three. And Esther, archival." The description of Ronald as "somber" at such a young age captures a sense of gravity and perhaps a loss of innocence. Esther, described as "archival," suggests a timeless quality, as if she herself is a repository of history and memory, despite being "illiterate." This juxtaposition highlights the richness of lived experience that transcends formal education.

The poem closes with a reflection on the nature of memory and preservation: "though the dead don't live in boxes / and nothing keeps in the heat." This line poignantly acknowledges the limitations of photographs (and books) in capturing and preserving the full essence of life and memory. While photographs can freeze a moment in time, they cannot fully contain the complexities of the individuals they depict or the cultural contexts they represent. The "heat" may refer to the literal warmth of Jamaica or the metaphorical intensity of life and experience that cannot be fully encapsulated in static images or written words.

"Four Poems About Jamaica: 2. Jamaicans Posing to be Photographed" thoughtfully examines the act of photographing and being photographed, especially under the lens of historical and cultural scrutiny. Matthews reflects on the inherent power dynamics and the potential for misunderstanding or oversimplification in capturing the essence of individuals and their stories. The poem invites readers to consider the ways in which language, history, and visual representation intersect, and the importance of recognizing the limits and responsibilities of those who document the lives of others.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...