Classic and Contemporary Poetry: Explained

William Carlos Williams’s "It Is a Living Coral" is a dense and fragmented meditation on the paradoxical nature of American identity, history, and the artistic and political institutions that define it. Through a kaleidoscope of images and references, the poem interrogates the layered meanings and contradictions embedded in symbols of national pride, such as the Capitol, historical paintings, and monumental sculptures. Williams uses his characteristic modernist style—eschewing linear narrative and conventional form—to create a vivid, multifaceted critique of the ways in which history and identity are constructed.

The poem opens with a cryptic assertion: "a trouble / archaically fettered / to produce." This phrase sets the tone for the entire piece, suggesting that the grandeur and symbolism of American institutions are rooted in a historical process fraught with contradiction and difficulty. The use of "archaically fettered" implies that these creations are bound by outdated frameworks and traditions, hinting at the tension between progress and the weight of history.

The invocation of E Pluribus Unum, the Latin phrase meaning "Out of many, one," underscores this tension. This motto, foundational to American identity, is juxtaposed with the description of an "island / in the sea a Capitol / surmounted / by Armed Liberty." The Capitol, a central symbol of American governance, is depicted as isolated ("an island") and dominated by the figure of Armed Liberty, whose militaristic connotations contrast with the ideals of freedom and unity. This tension between symbolism and reality permeates the poem, as Williams questions the coherence and authenticity of the narratives that sustain these symbols.

The description of the Capitol dome—"eight million pounds / in weight / iron plates constructed / to expand / and contract with / variations / of temperature"—serves as both a literal observation and a metaphor for the adaptability and fragility of American institutions. The image of the dome "folding / and unfolding like a lily" contrasts its immense weight and rigidity with the delicate, organic motion of a flower, highlighting the paradoxical nature of its construction. This interplay between permanence and change, heaviness and lightness, mirrors the challenges inherent in maintaining a unified identity in a complex, evolving nation.

Williams then shifts focus to the role of art and its relationship to history and politics. The "sculptured group" and paintings mentioned—depicting figures like Washington, Jefferson, Pocahontas, and Columbus—are presented as a "scaleless jumble." This phrase critiques the chaotic and often conflicting narratives that these works attempt to convey. The detailed descriptions of historical scenes, such as "Mars / in Roman mail placing / a wreath / of laurel on the brow / of Washington," reveal how these depictions blend myth, heroism, and historical distortion to create a cohesive but problematic vision of the past.

The inclusion of "Mrs. Motte / presenting / Indian burning arrows / to Generals / Marion and Lee to fire / her mansion / and dislodge the British" exemplifies this paradox. While the scene may celebrate patriotism and sacrifice, it simultaneously invokes the violence and dispossession central to America’s founding. Williams’s juxtaposition of these moments emphasizes the contradictions within the national narrative, where acts of liberation are intertwined with acts of destruction.

The poem crescendos into a critique of the artificiality and absurdity of these representations, as exemplified by the lines: "Frances / Willard’s corset is / absurd—." This moment serves as a humorous yet cutting reminder of the superficiality that often underpins monumental depictions of history. The poem’s litany of names—Trumbull, Varnum, Henderson, Banks, White—interspersed with vivid scenes of "men felling trees" and "Perry / in a rowboat on Lake / Erie" creates a collage of fragmented identities and narratives, reflecting the chaotic and multifaceted nature of American history.

The concluding lines—"changing ships the / dead / among the wreckage / sickly green"—paint a grim picture of destruction and decay. The image of "the dead among the wreckage" ties together the poem’s critique of historical glorification, suggesting that beneath the surface of these grand narratives lies a legacy of suffering and loss.

Structurally, the poem’s free verse form and lack of punctuation mirror the disordered and layered nature of its subject matter. The rapid shifts in focus and tone create a sense of fragmentation, reflecting the complexity and incoherence of the historical and cultural forces it critiques. Williams’s use of enjambment and abrupt line breaks further emphasizes the instability and multiplicity of the images and ideas presented.

Thematically, "It Is a Living Coral" examines the construction of national identity through art, politics, and historical memory. By juxtaposing grandeur with absurdity, unity with fragmentation, and permanence with decay, Williams critiques the contradictions and myths that underpin American ideals. The title itself, "It Is a Living Coral," suggests something both organic and artificial, growing from layers of sedimented history yet still alive, mutable, and contradictory.

Ultimately, Williams’s poem is a call to question the stories we tell about ourselves and the symbols we hold dear. Through its vivid imagery and fragmented structure, "It Is a Living Coral" captures the complexity of American identity, inviting readers to grapple with the layered, often paradoxical forces that shape their understanding of history and culture.

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