Classic and Contemporary Poetry: Explained

"Lynch" by Martha Collins is a profound and unsettling exploration of the history and semantics of lynching, a brutal practice deeply embedded in the racial and social fabric of America. Through a meticulous dissection of language and history, Collins invites the reader to consider the word "lynch" not just as a term but as a symbol of racial violence and injustice. The poem is structured in two distinct sections, each contributing to an overarching narrative that seeks to illuminate the complex dynamics of power, race, and violence.

The opening lines of the poem delineate what "lynch" is not, employing a series of negations that serve to strip away any potential benignity or unrelated meanings from the word. Collins makes clear that "lynch" cannot be innocuously compared to a pin that keeps wheels turning, nor is it akin to a strip of land or a link in a chain. This deliberate distancing from any mechanical or naturalistic interpretations sets the stage for a more sinister unveiling of the term's true associations. By stating what "lynch" is not, Collins heightens the reader's awareness of the word's weight and specificity, preparing us for its historical and cultural implications.

The poem then transitions to a historical origin of "lynch," hinting at a narrative where a captain turned judge "gave it his name." This reference serves as a chilling reminder of the legal and extrajudicial roots of lynching, where perceived authority conferred the power to enact violent justice outside the bounds of lawful proceedings. The phrase "before it lost its balance and crossed / the border" metaphorically suggests the perversion of justice and the spread of lynching as a tool of terror and control, especially against Black communities in the United States.

The shift to the collective "massed body of undoers" marks a transition to collective action, implicating a community in the perpetration of racial violence. The choice of words "claiming connection, relation, an intimate / right to the prized parts, to the body undone" reflects a perverse sense of ownership and entitlement to enact violence on the bodies of those deemed other or less than.

In the second section of the poem, Collins recounts a specific incident, further grounding the discussion of lynching in historical reality. The narrative of "a second another / a white there were two / that night the second an afterthought" reveals the story of Henry Salzner, a white man lynched for the murder of his wife, which is used to argue against the racial motivation of lynch mobs. However, the inclusion of this incident serves to complicate the narrative, illustrating that while lynching disproportionately targeted Black individuals, the underlying issue was the mob's presumption of authority to exact lethal justice outside the legal system.

Collins concludes by reflecting on the public perception of Salzner's lynching, as reported by newspapers claiming it was not driven by racial prejudice. This assertion forces the reader to confront the complex interplay of race, justice, and violence in the history of lynching, challenging simplistic understandings and highlighting the deep-seated injustices that fueled such acts.

"Lynch" is a powerful and haunting meditation on the legacy of lynching in America. Collins' careful deconstruction of the term and the historical narratives she invokes serve as a poignant reminder of the horrors inflicted in the name of justice and the enduring impact of racial violence. Through her poetic exploration, Collins not only commemorates the victims of such violence but also calls for a deeper understanding and acknowledgment of this dark chapter in American history, urging us toward a more just and equitable society.

POEM TEXT: https://poets.org/poem/lynch-0

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