Classic and Contemporary Poetry: Explained

"White Paper #14" by Martha Collins delves into the dark and interconnected histories of colonialism, slavery, and the ivory trade, illustrating how these histories are embedded in the seemingly innocent tradition of playing the piano. Through precise language and stark imagery, Collins draws a direct line from the keys of a piano back to the brutal exploitation of both African people and elephants, making a powerful statement about the legacy of violence and exploitation that underlies much of Western prosperity and culture.

The poem opens with an image that immediately juxtaposes beauty and violence: "black keys from trees white keys locked / on black shoulders locked together above / skeleton ribs keys to 45 keyboards from one / tusk." The piano keys, symbols of musical beauty, are traced back to their origins in elephant tusks and the labor of enslaved Africans. The word "locked" is repeated, emphasizing the entrapment and connection between the exploitation of human beings and animals. The use of "skeleton ribs" evokes images of death and suffering, linking the elegance of piano keys to a foundation of violence.

Collins then introduces a chilling arithmetic of exploitation: "one tusk + one slave to carry it bought / together." This equation starkly highlights the dehumanization inherent in the trade, where human lives and parts of elephants are quantified and exchanged as commodities. The poem notes the harrowing mortality rate of this trade, stating that "five Africans died / for each tusk," bringing to light the immense human cost behind each piano.

The poet personalizes this history by mentioning "400,000 American / pianos including the one my grandmother / played," linking her family's history to this global narrative of exploitation. This personal connection is critical, as it underscores the poem's exploration of complicity and the ways in which the benefits of these histories of violence have permeated into the lives of individuals who might consider themselves removed from such brutality.

The mention of "grieving villages / burned women children left to die the dead / elephants whose tusks went to Connecticut / where they were cut bleached and polished" further broadens the scope of the tragedy, illustrating both the immediate and ripple effects of the ivory trade. The contrast between the violence inflicted upon people and elephants and the serene image of Collins's grandmother playing piano in Illinois highlights the disconnect between the end products of exploitation and their origins.

Collins ends the poem with a reflection on her own connection to this history: "my mother played and I— there were many old / pianos and slaves were used till the 20th century: / an African slave could have carried a tusk / that was cut into white keys I played, starting / with middle C and going up and down." This closing acknowledges the poet's own place within this continuum of history, recognizing the complexity of her relationship to the piano and the music it produces. By ending with the image of playing the piano, Collins suggests that the act of playing, and perhaps the act of remembering and acknowledging, can be a way to confront and grapple with these intertwined legacies of beauty and violence.

"White Paper #14" is a profound meditation on the unseen histories that shape our world, asking readers to consider the true cost of cultural and material goods. Through its exploration of the ivory trade and slavery, the poem challenges us to reflect on the ways in which we are connected to the past and how we might reconcile with these connections in the present. Collins's work stands as a testament to the power of poetry to illuminate the hidden facets of history and to provoke thought and dialogue about our collective responsibility to remember and to act.

POEM TEXT: https://marthacollinspoet.com/book/white-papers/

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