Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "History as Horse Light" intertwines moments of catastrophic violence with the inception of human creativity, examining how profound events shape our understanding of existence and artistic expression. Through the imagery of light, both destructive and illuminating, Goldbarth navigates the complexities of historical moments and their enduring impact.

The poem begins with a stark assertion: "It ended at the time of Hiroshima. Everything ended, the world." This powerful statement frames Hiroshima as an apocalyptic moment, a definitive end to a world as it was known. The imagery of "spasms you see in the hips of an animal" evokes the lingering aftereffects of a devastating event, suggesting that even after the end, there are residual, involuntary movements—echoes of a life that once was. This comparison to the telegraph keys, small and useless, highlights the futility and the automatic continuation of existence in the aftermath of total destruction.

Goldbarth specifically focuses on the horse at Hiroshima, whose "shadow burnt permanently to a wall by the blast." This haunting image serves as a stark reminder of the sheer power and finality of the atomic bomb. The permanence of the shadow symbolizes the indelible impact of such events on history and memory. The reference to Picasso’s "Guernica" and its portrayal of a horse screaming in the light connects the terror of Hiroshima to the broader theme of human suffering and the violent disruptions of history. Picasso's work, like the horse's shadow, captures the essence of anguish and destruction.

The poem then shifts to a different kind of light, one that marks the beginning of human artistic expression: "It began in the Paleolithic caves." This contrast to the ending at Hiroshima introduces a primordial moment of creation. Goldbarth evokes the image of early humans navigating "blindblack passageways" with a "raw lamp," suggesting the struggle and determination involved in the first acts of artistic creation. The "raw lamp" and "wick and its fat" symbolize the rudimentary tools used to bring light into darkness, both literally and metaphorically.

The journey through "rockgut, crawling on his knees like a beast, rising where the space permitted," reflects the arduous process of seeking and finding a place for expression. This physical effort mirrors the emotional and intellectual endeavors required to make sense of the world and leave a mark on it. The creation of a horse on the wall, "in the first light's first distinctions," represents the birth of human consciousness and the drive to record and understand existence through art.

"History as Horse Light" juxtaposes the destructive light of Hiroshima with the creative light of Paleolithic caves, exploring how both catastrophic and creative moments define human history. Through vivid imagery and profound reflections, Goldbarth examines the dual nature of light as a symbol of both annihilation and enlightenment. The poem suggests that while history is marked by moments of extreme darkness and violence, it is also illuminated by the enduring human desire to create, understand, and remember. Goldbarth’s work invites readers to contemplate the intertwined nature of destruction and creation, and the ways in which these forces shape our collective memory and identity.

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