Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "Mishipasinghan, Lumchipamudana, Etc." juxtaposes the richness of language and human experience with the stark realities of suffering and oppression. The poem explores the vast spectrum of existence, from the delight in linguistic diversity to the harsh, dehumanizing conditions of political imprisonment, encapsulating the duality of wonder and despair.

The poem begins with a celebration of the intricacies of life: "Some days, anything is wonderful. In its detail, in its conception, in its chainlink leading into the rest of the physical and conceptual cosmos, anything is wonderful." This opening reflects a profound appreciation for the interconnectedness and complexity of the world, suggesting that every detail, no matter how small, contributes to the grandeur of the cosmos.

Goldbarth then focuses on the linguistic richness of the Quechua people in Peru, who have "a thousand words for 'potato.'" This fact highlights the depth of cultural specificity and the importance of the potato in their daily lives. Each word captures a unique characteristic, whether it's "the new ones with a skin still as thin as mosquito-wing" or "those sneaky burgundy corkscrews like a devil's dick." This linguistic abundance underscores the Quechua's intimate relationship with their environment, where even the mundane is imbued with significance and variety.

In stark contrast, the poem shifts to the bleak reality of a place called "peynisht," a term associated with political imprisonment and relentless, spirit-crushing labor. "Peynisht" is described as "a bleak wind-damaged plain," where the labor performed is "a daily toil without relief of any kind, or hope of pardon, just this side of unbearable." The specificity of this term, capturing the precise nature of suffering and endurance, stands in opposition to the richness of the Quechua language. While the Quechua have a thousand words to describe potatoes, the prisoners at peynisht have only one word to encapsulate their profound suffering.

Goldbarth emphasizes the literal and untranslatable nature of "peynisht": "It's only that literal place and the literal spirit-deadening effort going on there." This stark, singular word embodies a world where human dignity is systematically stripped away, leaving behind only the barest existence. The prisoners' lives are reduced to carrying stones and enduring relentless punishment, with their only sustenance being "a pan of bad water and a raw potato." The use of "raw potato" here creates a bitter irony, contrasting sharply with the earlier celebration of the Quechua's thousand words for potatoes.

The poem concludes with a somber reflection on language and existence: "And there's only one word." This final line underscores the stark, inescapable reality of the prisoners' suffering, contrasting the linguistic richness and wonder of the natural world with the brutal simplicity of oppression.

"Mishipasinghan, Lumchipamudana, Etc." by Albert Goldbarth masterfully explores the duality of human experience through language and imagery. By juxtaposing the richness of cultural specificity with the starkness of political oppression, Goldbarth highlights the extremes of human existence. The poem invites readers to appreciate the beauty and complexity of life while acknowledging the harsh realities that many endure, reminding us of the power of language to both celebrate and lament the human condition.

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