Classic and Contemporary Poetry: Explained

Denise Levertov's poem "The Day the Audience Walked Out on Me, and Why" is a powerful and direct account of a specific event that underscores the complexities and tensions surrounding social and political activism in the United States during the Vietnam War era. Through her narrative, Levertov addresses themes of remembrance, hypocrisy, and the moral responsibilities of resistance. The event was on May 8th, 1970 at Goucher College, Maryland.)

The poem begins by setting the scene: "after the antiphonal reading of the psalms, / and dance of lamentation before the altar, / and the two poems, Life at War and What They Were Like," indicating that the gathering was intended to be a solemn and reflective occasion. The choice of readings and performances suggests a focus on grief and remembrance, aligning the audience’s expectations with a ritual of mourning.

Levertov then recounts her "rap"—a term suggesting a candid, unscripted speech—and the provocative statements that led to the audience's departure: "Yes, it is well that we have gathered / in this chapel to remember / the students shot at Kent State, / but let us be sure and know / our gathering is a mockery unless / we remember also / the black students shot at Orangeburg two years ago, / and Fred Hampton murdered in his bed / by the police only months ago." By expanding the scope of the memorial to include lesser-known and racially charged incidents, Levertov challenges the audience to confront broader injustices, thereby unsettling their comfort and potentially their complacency.

As she continues, the reaction of the audience becomes clear: "And while I spoke the people—girls, older women, a few men / began to rise and turn / their backs to the altar and leave." This physical turning away from both Levertov and the altar symbolizes a rejection not just of her message but also of the call to a deeper and more inclusive moral reckoning. The act of leaving underscores a refusal to engage with the uncomfortable truths she presents.

Levertov presses on, linking remembrance to action: "let us be sure / we know it is hypocrisy / to think of them unless / we make our actions their memorial, / actions of militant resistance." Here, she condemns the idea of passive remembrance and insists on active, perhaps radical, responses to injustice. Her words advocate for a form of remembrance that is not merely symbolic but enacted through tangible, resistant deeds.

The poem captures the emotional and physical emptiness of the chapel: "By then the pews were almost empty / and I returned to my seat." The emptiness serves as a stark contrast to the fullness of her message, highlighting the isolation and rejection she faced for speaking uncomfortable truths. A man standing at the back of the chapel accuses her of desecration, further emphasizing the audience's discomfort with her disruption of their expected norms of reverence and mourning.

Levertov concludes by highlighting the selective nature of societal mourning and memorials: "And a few days later / when some more students (black) were shot / at Jackson, Mississippi, / no one desecrated the white folks’ chapel, / because no memorial service was held." This final observation points to a racial double standard in public mourning and memorial practices, underscoring the systemic neglect of black lives and the ongoing struggle for racial justice.

"The Day the Audience Walked Out on Me, and Why" is a poignant critique of selective remembrance and a call to confront uncomfortable truths about racial and social justice. Levertov’s recounting of this event invites readers to reflect on their own responsibilities and the ways in which they might contribute to meaningful, active resistance against injustice. The poem serves as both a personal narrative and a broader social commentary, urging a deeper, more inclusive engagement with the past and its ongoing implications.

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