Classic and Contemporary Poetry: Explained

Albert Goldbarth's "Circa 1861" intricately weaves together historical context, personal reflection, and the omnipresent nature of media. The poem begins with a domestic scene, "Mother? I'm here again to freshen the water," which sets the tone for a day in the life of Emily Dickinson, reimagined through a radio dramatization. This opening highlights the poet's secluded life, juxtaposed against the turbulent backdrop of the Civil War, emphasizing the contrast between her private world and the public chaos.

The poem acknowledges Dickinson's famous reclusiveness, quoting her lines, "The Soul selects her own Society - / Then —shuts the Door." This metaphorical door represents her withdrawal from society, seeking solace and inspiration in solitude. Yet, behind this closed door lies a "viably flamboyant sensibility," suggesting that her isolation is not indicative of a lack of inner life but rather a fertile ground for creativity. The poet's mundane activities—arranging gentians, baking bread, writing notes to neighbors—fuel an "interior blaze," a vivid image of her vibrant inner world.

Goldbarth skillfully contrasts Dickinson's seclusion with the dramatic events of the time. The Civil War's brutality is captured in a stark image: "Yestere'en we saw a boy waltz, his partner was a sword haft sticking halfway out his chest." This gruesome yet poetic depiction encapsulates the war's pervasive presence and its intrusion into everyday life. The poem also references other contemporaneous events: Madame Carolista's daring highwire act in Denver and Speke's quest to find the source of the Nile, illustrating the era's adventurous spirit and the relentless pursuit of knowledge and spectacle.

The poem shifts to a meta-narrative, as the radio listener becomes aware of the "spiritly electrofiche sizzle" of other stations encroaching on her experience. This intrusion symbolizes the pervasive nature of modern media, where multiple narratives and stimuli vie for attention simultaneously. Goldbarth captures the essence of the 20th century as the age of "Simultaneity," where diverse and often conflicting voices coexist in the ether, influencing our perceptions and emotions.

The listener's realization that "aliveness isn't a function of reception" resonates deeply. It underscores the idea that the world is teeming with life and stories, independent of our awareness or engagement with them. This notion is vividly illustrated by the imagery of voices playing on "every breath" and "beaming beyond Orion," suggesting an infinite and interconnected universe of sound and communication.

Goldbarth's conclusion ties the poem's themes together with a poignant reflection on the emotional impact of this constant barrage of information. The feeling of wanting to weep, induced by the piercing news, encapsulates the overwhelming nature of modern existence. The media's ability to evoke strong emotions, often unexpectedly, speaks to its power and the profound effect it has on our lives.

"Circa 1861" is a rich tapestry that juxtaposes the historical with the contemporary, the private with the public, and the mundane with the monumental. Goldbarth's masterful use of imagery and narrative interweaving creates a compelling exploration of how personal and historical narratives intersect, and how the omnipresent media shapes our understanding and experience of the world. The poem is a tribute to the enduring relevance of Dickinson's introspective genius amidst the relentless march of history and the cacophony of modern life.

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