Classic and Contemporary Poetry: Explained

Constance Merritt's poem "From the Land of Shades: Call and Response with Eleanor Wilner" elegantly intertwines themes of longing, community, and the inexorable separation between life and death. The poem begins with a nostalgic invocation of childhood games, "Red Rover, Red Rover," a phrase that immediately conjures memories of camaraderie and the innocent desire to connect and be part of a group. This playful chant serves as both a literal and metaphorical call, bridging the realms of the living and the dead.

Merritt positions her speaker in a liminal space, "alone in the almost-dark," highlighting the transitional nature of this moment. The almost-dark suggests a time of twilight, a boundary between day and night, life and death. It is in this setting that the speaker hears the call to join a game, a simple yet profound desire to "break through the line of arms" and rejoin the warmth and unity of the group. This imagery is potent, symbolizing the human yearning to reconnect with loved ones who have passed on, to bridge the gap that death has created.

The repetition of the phrase "Red Rover, Red Rover, they chant and call her name" serves as a haunting reminder of the persistent call from the other side. It is both an invitation and a reminder of the boundaries that exist. The chant is an auditory representation of the pull between staying in the world of the living and heeding the call of the dead.

Merritt's use of classical references such as "O Dog of Athens" and "Belle of Amherst" situates her poem within a broader literary and philosophical context. The "Dog of Athens" refers to Diogenes, the Greek philosopher known for his ascetic lifestyle and critique of social norms. The "Belle of Amherst" alludes to Emily Dickinson, whose poetry often grappled with themes of death and immortality. These figures symbolize different aspects of the human experience—philosophical inquiry and poetic introspection—both of which are relevant to the poem's exploration of life, death, and the desire for connection.

The poem's central tension arises from the speaker's desire to run towards the voices and the simultaneous realization that "The dead do not return from the land of shades." This acknowledgment of the finality of death is poignant, underscoring the depth of the speaker's yearning and the inevitable barrier that separates her from the calling voices. The "mutton light" symbolizes a deceptive or false hope, suggesting that the light she sees may not lead to the reunion she desires but rather to an acceptance of her own mortality.

The final stanza, which calls upon figures like the "Traveler in Concord" (likely referencing Ralph Waldo Emerson or Henry David Thoreau, both associated with Concord, Massachusetts, and known for their transcendentalist views) and the "Faun of the Wood" (possibly a reference to Pan or a nature deity), underscores a longing for guidance and solidarity in facing the ultimate transition. These figures represent different aspects of wisdom, creativity, and natural harmony, suggesting that they can offer strength and support against the encroaching darkness.

Merritt's poem, through its rich imagery and intertextual references, creates a tapestry of longing and reflection. The repeated call and response structure underscores the persistence of memory and the unending desire for connection, even in the face of death. "From the Land of Shades" is a meditation on the nature of life and death, a poignant exploration of the human spirit's resilience and the enduring power of community and memory.

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