Classic and Contemporary Poetry: Explained

In "So That / The God Whom Humans Had Decided," Lawrence Ferlinghetti blends humor, irony, and existential reflection to create a poem that critiques and reimagines the role of God in a chaotic and diverse modern world. Through a playful narrative and vivid imagery, Ferlinghetti explores the interplay between the divine and the human, offering a satirical yet poignant commentary on consciousness, religion, and the unfolding 21st century.

The poem begins by introducing a concept of God as "Consciousness itself whose center is the self / and its circumference / everywhere." This expansive description reflects a universal view of God, omnipresent and encompassing all. The divine is situated "in the far suburbs of His kingdom / where He had set up / a temporary headquarters," which Ferlinghetti humorously describes as "a sort of summer pavilion or rather a winter palace." The makeshift, portable nature of God's throne, "sort of like a Port-O-Let with handles fore-and-aft," adds a whimsical tone while implying that the divine is perpetually on the move, trying to keep up with humanity's shifting consciousness.

God is depicted as restless, always "having to move on the run / depending upon / where His Beings / human and inhuman / had shifted their consciousness." This concept of God as adaptable and mobile contrasts with traditional static depictions, emphasizing the fluidity of belief and understanding. Despite His omnipresence, God struggles with discouragement, "and some suspected / he was a manic depressive." The whispering "devilish voice behind him" muttering "Life sucks" reflects a cynical undercurrent that challenges God's optimistic view that "Life is a good deal!"

Nevertheless, God persists and decides to "take a New Year's inventory," using a "portable Mac" to document various scenes from humanity. This inventory is a kaleidoscope of absurd, poignant, and surreal images that capture the complexity and contradictions of modern life. From "One Dutch ship sighting Sandy Hook New Jersey" to "One very beautiful woman / weeping in a restaurant her hand held by a black lover," Ferlinghetti includes a diverse array of moments that reveal beauty, love, absurdity, and struggle.

The inclusion of specific items like "One red lobster on a leash / strolling down a Paris boulevard" and "One fine day under the Linden trees / in Boston Common" juxtaposes the whimsical with the everyday. Meanwhile, the depiction of "One enlightened politician / behind bars" and "One Zapatista" highlights the sociopolitical realities that shape the 21st century. The "one fine anarchist picnic" and "one monkey playing a masterpiece on a computer" illustrate the unpredictability and creativity inherent in the human experience.

Ferlinghetti also touches on historical and mythical elements, such as "One Prague symphony written on / the walls of Auschwitz" and "And Mother in a manger / because no room at an inn." These references blend tragedy with hope, reflecting the resilience of the human spirit amid catastrophe.

As the poem progresses, the imagery becomes increasingly surreal: "One cool evening in autumn capitals / their avenues of leaves ablaze," "One moment of silence / And one moment of epiphany / One moment of ecstasy / One moment of madness." This crescendo of moments captures the emotional spectrum of life, culminating in God's final declaration: "'Ah yes / and these are all thoughts I acted out / but they were only tryouts for the real thing.'"

The closing lines reveal God's intention to start "a whole new opera / (all of which turned out to be / the libretto for our twenty-first century)." This "opera" includes "a singing part for every heart / and even a part / for the very heart of our ungodly / unconscious," suggesting a collective creative endeavor that transcends traditional notions of divinity and taps into the shared human experience.

Structurally, the poem flows in a stream-of-consciousness manner, reflecting the fluidity of thought and the interconnectedness of the imagery. Ferlinghetti's use of enjambment and varied line lengths adds to the sense of movement and unpredictability. His language is rich with metaphor and irony, creating a tapestry of symbols that engage readers on multiple levels.

Ultimately, "So That / The God Whom Humans Had Decided" is a satirical yet compassionate exploration of the divine in a fractured world. Ferlinghetti challenges conventional religious narratives, offering a vision of God as a playful, melancholic figure grappling with the complexities of modern life. The poem celebrates the absurdity and diversity of human experience, inviting readers to reflect on the stories and moments that shape their own libretto for the 21st century.

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