Classic and Contemporary Poetry: Explained

Muriel Rukeyser’s “Foghorn in Horror” is a haunting exploration of despair, isolation, and the inescapable nature of sorrow. Through vivid imagery and evocative sound, the poem captures a profound sense of loss and failure, drawing on mythological references and the physical presence of the foghorn to create a layered emotional landscape.

The poem opens with a sense of confinement and separation: “I know that behind these walls is the city, over these rooftops is the sun. / But I see black clothes only and white clothes with the fog running in / and all their shadows.” The walls and rooftops symbolize barriers between the speaker and the outside world, emphasizing a feeling of entrapment. The contrast between the sun’s potential brightness and the pervasive fog illustrates the overshadowing of hope by despair. The black and white clothes, combined with the encroaching fog, create a visual of mourning and ambiguity, enhancing the poem’s somber tone.

The persistent sound of the harbor intrudes upon this scene, described as “intruding on horror with a bellow of horror: / blu-a! blu-aa! Ao.l.l.l.” The repetitive and mournful call of the foghorn mirrors the speaker’s inner turmoil and adds an auditory dimension to the pervasive sense of dread. The foghorn’s sound becomes a symbol of unrelenting sorrow, akin to a cry that cannot be silenced or ignored.

The speaker’s attempt to communicate with a loved one is met with failure: “I try to write to you, but here too I meet failure. / It has a face like mine.” This moment of self-recognition and identification with failure deepens the sense of personal defeat. The speaker is unable to bridge the gap between themselves and others, reinforcing their isolation and helplessness.

Rukeyser invokes the mythological figure of Niobe, a symbol of eternal mourning and loss: “Niobe howling for her life and her children. / Did you think this sorrow of women was a graceful thing? / Horrible Niobe down on her knees.” Niobe, who was turned to stone while grieving her slain children, epitomizes the relentless nature of grief. Her presence in the poem underscores the universal and timeless aspect of the speaker’s sorrow, suggesting that such pain is not noble or graceful but raw and devastating.

The speaker’s sense of failure is further emphasized by the passage of time: “Thirty years, and my full strength, and all I touch has failed.” The duration of thirty years highlights a long-standing struggle and the erosion of the speaker’s resolve and capabilities over time. This admission of failure, coupled with the repeated cries of the foghorn, reinforces the poem’s theme of inescapable despair.

Despite this pervasive sorrow, the poem finds moments of unexpected beauty: “I sit and see / the black clothes on the line are beautiful, the sky drifting away. / The white clothes of the fog beyond me, beautiful, and the shadows.” These lines suggest a paradoxical appreciation for the simple, everyday elements of life, even in the midst of profound grief. The beauty of the black and white clothes against the fog hints at a nuanced view of existence, where moments of grace can coexist with overwhelming sadness.

The poem closes with the continuing cries of the foghorn: “Blu-aa! Blu-aa! AO.” The repetition of this sound serves as a haunting refrain, echoing the unresolved nature of the speaker’s emotions. It underscores the cyclical and enduring quality of grief, which remains an ever-present backdrop to their experiences.

In “Foghorn in Horror,” Rukeyser masterfully weaves together imagery, sound, and myth to create a powerful meditation on loss and despair. The foghorn’s relentless bellow, the myth of Niobe, and the stark contrasts between light and dark all contribute to a rich and complex portrayal of the human condition. The poem invites readers to confront the depths of sorrow while also recognizing the moments of beauty that persist amidst the darkness.

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