Classic and Contemporary Poetry: Explained

Naomi Shihab Nye’s poem "Messenger" explores the intersection of anonymous activism, hope, and the human impulse to communicate through unexpected means. Through a simple yet layered narrative, the poem contemplates the motivations behind an unseen figure’s decision to paint NOTHING IS IMPOSSIBLE on bus benches, transforming ordinary public spaces into sites of quiet encouragement. The speaker’s meditation on this act of defiant optimism gives the poem its depth, questioning what drives someone to leave such a message in a world filled with cynicism and uncertainty.

The poem begins with an observation: someone has been systematically erasing advertisements on bus benches and replacing them with the phrase NOTHING IS IMPOSSIBLE. The speaker notes how these words appear "clearly at corners, in front of taco stands and hardware stores," placing them within everyday settings where passersby might need a reminder of possibility. The specificity of locations suggests that the message is meant for ordinary people, those navigating the city, waiting for buses, or stopping for a meal. There is an intentionality in both the words and their placement—the message is not just an idle expression but a deliberate effort to reach others.

The act of painting the phrase is described with a sense of admiration and intrigue. The speaker imagines the unknown artist working "in the dark, clanging paint cans block to block" or using "a couple of sprays." These lines emphasize the stealth and effort involved, suggesting that this was not an impulsive act but a mission. The repetition of "they must have really wanted to do it" underscores the speaker’s respect for the dedication required to spread such a message. The contrast between this graffiti and the many "distasteful graffiti on earth" sets the phrase apart—it is not meant to deface or destroy, but to uplift.

The speaker then considers the universality of the message. "It could belong to anyone, / Latinas, Arabs, Jews, / priests, glue sniffers." This list breaks down divisions of identity, class, and circumstance, reinforcing that hope is not exclusive to any one group. The message transcends individual experience, yet it also raises questions: "Mostly I wonder about / what happened or didn’t happen / in the painter’s life / to give her this line." Here, the poem shifts from an external observation to an internal inquiry. The speaker recognizes that the act of painting this phrase must stem from something deeply personal—either a transformative moment or a longing for one.

This curiosity contrasts sharply with the next reflection: "I don’t wonder about the person / who painted HIV under the STOPS / on the stop signs in the same way." The distinction is crucial. The STOP sign graffiti carries a different kind of urgency, likely meant to shock, warn, or provoke fear. It does not invite the same wondering, the same intrigue about a person’s story or motivations. The message NOTHING IS IMPOSSIBLE operates differently—it reaches toward others with hope, rather than with warning or accusation.

The poem’s final movement poses further questions about the painter’s state of mind. "Did some miracle startle / the painter into action / or is she waiting and hoping?" The phrasing suggests two possibilities: that this person has experienced something that reinforced their belief in possibility, or that they are still searching for validation of their own message. This ambiguity allows the reader to consider the nature of hope itself—whether it is the result of an answered prayer or the simple act of continuing to believe in something better.

The last image of the poem is particularly striking: "Does she ride the bus / with her face pressed to the window / looking for her own message?" This line suggests that even the messenger, the one spreading this optimism, might need to see it reflected back at her. The possibility that she is still seeking reassurance adds a layer of vulnerability to the act of painting those words.

The poem ends with an elemental, natural affirmation: "Daily the long wind brushes YES / through the trees." This final image serves as a contrast to the human-made message on the benches. Unlike the graffiti, which is deliberate and forced into the urban landscape, the wind and trees provide a quiet, continuous affirmation of existence and movement. The wind’s YES suggests that hope is always present, not just in words painted on public surfaces, but in the natural rhythms of the world itself.

"Messenger" ultimately examines the nature of belief, the impulse to spread messages of hope, and the unknowable motivations of those who leave their marks on the world. Naomi Shihab Nye presents the act of anonymous graffiti as something almost sacred—a gift, a plea, a reminder. Through her exploration of the unseen painter’s intent, she raises a larger question: how do we hold onto hope, and where do we look for it? Whether in words on a bench, in the wind through trees, or in the simple resilience of continuing forward, the poem suggests that messages of possibility are everywhere, waiting for us to notice.

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