Classic and Contemporary Poetry: Explained

"Essay on Language (1)" by Wanda Coleman is a deeply introspective and complex piece that explores the intricacies of identity, language, and societal norms through a reflective and nonlinear narrative. Coleman intertwines personal introspection, societal critique, and philosophical inquiry to address the ways in which language and perception are shaped by and reflect racial and social constructs.

The poem opens with the rhetorical question "who stole the cookie from the cookie jar?" immediately setting a tone of inquiry and invoking childhood games to delve into deeper questions of blame, guilt, and accusation. This seemingly innocuous question serves as a gateway to exploring themes of ownership, theft, and innocence, particularly in relation to racial stereotypes and historical injustices.

Coleman's consideration of the "middle passage" and the "dutch ship" connects these themes to the transatlantic slave trade, suggesting that the roots of contemporary racial dynamics and language use are deeply embedded in this history of violence and exploitation. The reference to "adam and eve and pinchmenot" further explores the idea of original sin and the construction of guilt and innocence, framing these concepts within a broader dialogue about race and identity.

The assertion that "blacks think in circles" and the speaker's immediate, defensive rejection of this statement reveal the internal conflict and societal pressure to conform to linear, Western modes of thinking. Coleman's subsequent admission that she does think in circles reflects a recognition of alternative ways of knowing and being, challenging dominant narratives about logic and rationality.

The poem grapples with the stigmatization of blackness and the desire for understanding and acceptance. Coleman's repetition of "poverty poverty poverty" and "sex sex sex" underscores the ways in which societal stigmas and obsessions can trap individuals in cycles of marginalization and objectification. The quest for "absolute understanding" and the struggle with love and identity highlight the personal and existential dimensions of these societal constructs.

Coleman's critique of the advice to "ignore the actuality of blackness" as a means of escaping "linguistic ghettoization" interrogates the erasure of racial identity as a strategy for success. Her exploration of the nature of mirrors and the question of whether something can cease to be what it is once it becomes something else delves into the fluidity of identity and the limitations of language to fully capture the complexity of self.

The imagery of the "violent animal" struggling against a "paranoiac $$$ prism" and the effort to "get to solid ground" illustrates the internal and external battles faced by those navigating a world that seeks to define and constrain them. Coleman's substitution of "writer for mirror, visionary for window, hack for glass" offers a metaphor for the transformative power of creativity and vision in transcending these limitations.

Through "Essay on Language (1)," Coleman presents a rich tapestry of thought that challenges readers to consider the ways in which language, identity, and societal expectations intersect and shape our understanding of ourselves and others. The poem is a testament to the resilience and complexity of navigating a world that often seeks to simplify and categorize, inviting a deeper engagement with the nuances of human experience.

POEM TEXT: https://www.google.com/books/edition/Wicked_Enchantment/hKM_EAAAQBAJ?hl=en&gbpv=1

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