Classic and Contemporary Poetry: Explained

In "History Is Made / Of the Lies of the Victors," Lawrence Ferlinghetti crafts a satirical and pointed critique of historical narratives that are shaped and manipulated by those in power. He explores how history is distorted by the winners to justify their actions, emphasizing the consequences of this manipulation for the oppressed and marginalized. The poem deftly employs irony and metaphor to expose the disparity between reality and the historical record, revealing the deeply rooted inequalities that persist through selective storytelling.

Ferlinghetti opens with the phrase, "'History is made / of the lies of the victors,'" a blunt assertion that sets the tone for the entire poem. He quickly contrasts this with the sanitized versions presented in "the textbooks," where "the victors are portrayed as super-benevolent altruists / and lovers of the poor and downtrodden." The sarcastic depiction of victors as champions of justice and benevolence underscores the poem's central critique: the powerful often rewrite history to present themselves in a favorable light.

The poet then expands on this critique by stating that the downtrodden "never had a chance to / rise up and write their own dubious stories." This suggests that the oppressed lack the means to share their perspectives, as the winners control the narrative. Ferlinghetti likens history to "a river blurred with tears / or a running sea whose fish change color / when cast upon the beach." This metaphor captures the fluid and mutable nature of historical narratives, which can change depending on who writes them.

Ferlinghetti continues by criticizing the wealthy elite, who "keep getting more medals for bad behavior" and endorse the idea that "the stock market is open to everyone." He exposes the fallacy of trickle-down economics, noting that "money really doesn't 'trickle down' but rises like anything hot." The irony in this observation highlights the unequal distribution of wealth and power.

The poet further mocks the idea that "the jury system is the best ever for preserving the status quota," suggesting that the judicial system primarily serves to maintain the interests of those in power. He imagines a scenario where historians "leave blanks in their writings to be filled in variously / depending on who's in power," underscoring the malleability of historical narratives. Ferlinghetti even contemplates the role of technology in rewriting history: "the computer makes changes easy."

Ferlinghetti's exploration of historical distortion deepens as he addresses atrocities and genocides: "And a lot of genocides and massacres maybe never really happened / so the record should be corrected." He references the Holocaust, the "rape of Cuba and Nicaragua or Cambodia or Timor," illustrating how denial and revisionism can obscure the truth. This tactic of denial, he notes, is often wielded by those who wish to minimize their complicity or maintain their dominance.

The poet then addresses colonialism, noting that "all those natives / in all those Third and Fourth World ghettos really always wanted to be conquered." He highlights the absurdity of claiming that indigenous peoples desired conquest, as if "Cortez the prophesied fair-haired god or Columbus the great white hope" were liberators rather than oppressors. The phrase "stolen continents weren't really stolen" exposes the cognitive dissonance behind the narrative of "glorious Christian conquests."

Ferlinghetti's sarcasm reaches its peak as he writes, "Onward Christian Soldiers," lampooning the colonial mindset that justified atrocities in the name of Christianity. He imagines the victors writing histories that depict themselves as "fit to write the story" because they "are the fittest having survived." This Social Darwinist idea reflects a worldview where power justifies all actions.

The poem closes with an acknowledgment that "Truth Beauty Goodness are all relative / especially Truth as she is extolled in the history books." Ferlinghetti invokes Plato to suggest that absolute truth is an illusion, especially when manipulated by those in power. The final line, "Amen oh brother can you spare a dime?" combines religious rhetoric with the Great Depression-era song to underscore the disparity between the myth of altruistic leaders and the grim reality faced by the impoverished.

Overall, "History Is Made / Of the Lies of the Victors" is a scathing critique of historical revisionism and the manipulation of truth by the powerful. Ferlinghetti's use of irony, metaphor, and historical allusion exposes the discrepancies between the glorified narratives of textbooks and the harsh realities experienced by the oppressed. The poem ultimately challenges readers to question the historical narratives they encounter and seek a more nuanced understanding of the past.

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