Classic and Contemporary Poetry: Explained

"To Lucasta, About that War" by John Ciardi presents a complex and emotionally charged reflection on the experiences of war, diverging significantly from the romanticized or heroic portrayals often found in traditional war poetry. Ciardi’s poem, through its vivid imagery, disjointed narrative, and blunt language, conveys the chaotic, mundane, and morally ambiguous reality of wartime, effectively challenging the reader's perceptions of heroism, duty, and the impact of war on the individual.

The poem opens with a description of a long winter away from home, where the natural elements and the war machinery seem to merge into a surreal landscape. The "gulls" and "tankers" are depicted as being tossed by the wind and sea, while the menacing "wolf packs" (likely referring to enemy submarines) hide beneath the surface. This setting establishes a tone of isolation and constant threat that pervades the soldier's environment. The phrase "like voodoo talking" introduces an element of the uncanny or magical, suggesting that the war zone is a place where normal rules of reality do not apply, and where the inexplicable and terrifying become commonplace.

The speaker admits to succumbing to the distractions of alcohol, a temporary escape that, crucially, does not bring him closer to the thought of home or loved ones. The admission "I did what booze brought me, and it wasn't you" reveals a disconnection not only from home but also from one's sense of self and moral compass. The speaker's actions are dictated by circumstance and the need to cope, rather than personal desire or principle.

The depiction of time as "enforced" and the soldier as a "swag-man under the clock" suggests the drudgery and passivity of much of the soldier's experience. The war is not only a series of battles but also long periods of waiting, of being at the mercy of time and higher commands. The mention of "bloat-bags" and the impersonal, bureaucratic process of recording deaths ("Armies can type faster than men die") further emphasizes the dehumanization and administrative coldness that accompanies war.

The speaker's confession of finding "several (or more) pig blind alleys with doors, faces, dickers" implies encounters with morally compromising situations, likely involving civilians or prisoners. These experiences are contrasted with the ongoing movement of ships and the lurking threat of enemy packs, highlighting the constant backdrop of danger against which personal transgressions occur.

The poem then shifts to a more explicit critique of the actions justified under the guise of war, including the objectification and abuse of women ("knickers; and it was no goddamn good, and not bad either"). The war creates a perverse normalcy where violence, exploitation, and apology coexist, blurring the lines between right and wrong.

Ciardi concludes the poem by acknowledging the transformative effect of war on those who participate in it. The war "lit a sort of skyline somehow in the blood," suggesting that the experience of conflict becomes an indelible part of one's identity. The repetition of the poem's opening imagery in the final lines serves to underline the cyclical nature of war's impact, both on the physical world and on the human psyche.

"To Lucasta, About that War" is a powerful indictment of war's brutality and its capacity to dehumanize both victims and participants. Through his vivid imagery, fragmented narrative structure, and direct language, Ciardi captures the complexity of the soldier's experience—marked by boredom, violence, guilt, and a profound sense of alienation. The poem challenges readers to reconsider their perceptions of war, emphasizing its far-reaching and deeply personal consequences.

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