Classic and Contemporary Poetry: Explained

"A Book of Days; 2. Veterans Day" by Martha Collins offers a poignant exploration of war's personal and psychological ramifications, intertwining themes of power, trauma, and memory. Through the lens of Veterans Day, Collins delves into the complex dynamics of combat, authority, and the enduring scars left on individuals and relationships. The poem oscillates between the intimate and the universal, revealing how deeply war's legacy is felt in personal lives and identities.

The opening lines, "The game is Kill the King, he said. / A little Freud he'd read somewhere," immediately introduce the themes of power and psychological underpinnings. This reference to Freud and the invocation of a game centered around killing a figure of authority suggest a deeper exploration of the struggle for dominance and the impact of such power dynamics on the psyche.

As the poem progresses, the speaker reflects on the experience of being in power ("But when he was king he did nothing, / except say No, except say Do,") and the ultimate command to "Die." This stark transition from inaction to a command of death encapsulates the abrupt and arbitrary nature of authority within the context of war. The personal becomes entangled with the political, as the speaker grapples with the responsibilities and consequences of command.

Collins vividly brings to life the grim realities of trench warfare—"Trenches I can imagine. / Rats, vermin, water and mud." The imagery of standing, waiting, and the ominous "Over the Top" command underscores the anticipation and fear inherent in combat. This stark depiction serves as a reminder of the physical and mental conditions soldiers endure, situating the poem within a broader historical context.

The declaration "Listen: I was the battlefield." shifts the narrative inward, suggesting that the real conflict lies within the self. The battlefield becomes a metaphor for the mind or soul, a site of internal struggle and turmoil. This personalization of war's landscape illuminates the poem's central concern with the internal scars borne by those who have experienced combat.

The speaker's recounting of a figure swaying "in his underwear, little boy / on a bare floor" and the evocation of his mother and recurring dreams further blur the lines between past and present, war and peace. These intimate details reveal the depth of trauma, as childhood and familial relationships are overshadowed by the specter of war.

The enumeration of weapons and military equipment contrasts with the earlier intimate imagery, emphasizing the mechanization of war and its impersonal nature. Yet, the personal narrative threads through these descriptions, maintaining the poem's focus on the individual experience within the vast machinery of conflict.

Collins concludes with a reflective turn: "It used to be the armistice. / Now we remember the ones who fought." This evolution from celebrating the end of hostilities to honoring those who served highlights a shift in perspective towards a more personal and humanized understanding of war. The closing line, "Understand: I was trying to win myself," encapsulates the poem's exploration of identity and the internal battles waged long after the external conflict has ended.

"A Book of Days; 2. Veterans Day" intricately weaves the personal with the historical, offering a nuanced meditation on the effects of war on the individual psyche and relationships. Collins navigates the complexities of power, trauma, and memory with sensitivity and insight, prompting readers to reflect on the enduring impact of war beyond the battlefield.

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