Classic and Contemporary Poetry: Explained

Rachel Hadas’s poem "Recycling" intricately weaves together personal history, cultural traditions, and environmental consciousness through the lens of reusing paper. By drawing parallels between various forms of recycling—from the draperies repurposed into gowns by Scarlett O'Hara to the makeshift skirts sewn by her mother’s classmates during the Depression—Hadas situates her own practices within a broader historical and familial context.

The poem opens with a series of historical and literary allusions, setting a tone of continuity and tradition. The reference to Scarlett O'Hara's gown from "ruined Tara's draperies" and the homemade skirts of Bryn Mawr students underscore the resourcefulness of previous generations. This segues into Hadas’s own contributions to this tradition, particularly her focus on reusing paper: “since everything I can reuse I will, / as long as it is paper.”

Hadas catalogues the various forms of paper she recycles: “index cards, jiffy bags, folders, bluebooks by the pile.” This list evokes a sense of practicality and meticulousness. Each item of reused paper holds a dual purpose, as seen in the line, “Any twice-used index card will tell / two stories, thanks to Janus, one per side.” The duality here, represented by the Roman god Janus, symbolizes the convergence of past and present within each piece of paper.

The poem delves into specific examples of her recycling habits. For instance, today’s shopping list might be written on the back of “Columbia admissions information” or “bibliography for my dissertation.” These lines highlight the continuity of life’s activities—academic, personal, and professional—interwoven through the medium of paper. The mention of her mother working part-time at Columbia and the bibliography for her dissertation further personalize the narrative, connecting Hadas’s recycling practices to her own familial and academic background.

Hadas extends her recycling to her community and family: she gives paper to the super and uses some as drawing paper for her son. This practice not only serves an environmental purpose but also fosters creativity and practicality within her household. The poem also hints at a sense of inherited habit: “a practice I seem to have inherited, / recycling thus the habit of recycling,” connecting her actions to those of her father.

The poem takes a poignant turn with the introduction of her friend Charlie's collection: “His poetry collection came to me, / these folders tucked inside it like a stowaway.” Hadas describes how she “weeded through the clippings” and chose to keep the folders marked with names of authors Charlie adored. This act of recycling extends beyond mere utility; it becomes an homage to her friend and a preservation of his literary passions.

The folders, each labeled with a writer’s name, become “a synecdoche for worlds / my friend had loved to dwell in.” This notion elevates the act of recycling to a form of remembrance and continuity, where the physical remnants of Charlie’s collection symbolize his enduring presence and influence. The final lines reflect on the incorporeal nature of literature and memory: “Books too fat to fit in folders still endure / as reference, memory, and love, recycled, feather-light, perennial.” Here, Hadas beautifully encapsulates the idea that literature, like the recycled paper, transcends its physical form, becoming a lasting part of personal and collective memory.

In "Recycling," Rachel Hadas explores the intersection of environmental mindfulness, personal history, and cultural heritage. The poem eloquently illustrates how the simple act of reusing paper can carry profound significance, linking the past with the present and honoring those who have shaped our lives. Through detailed imagery and personal reflection, Hadas demonstrates that recycling is not just about conservation but also about preserving and cherishing memories and connections.

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