Classic and Contemporary Poetry: Explained

In "Everything," Christopher Howell delves into the myth and madness of the Spanish explorer Ponce de Leon, famously remembered for his futile quest for the Fountain of Youth. Through Howell’s nuanced portrayal, Ponce emerges not just as a historical figure but as a deeply flawed, almost tragic character driven by an unquenchable desire to reverse time and reclaim lost youth. Howell uses rich, sometimes humorous imagery to capture the absurdity and poignancy of Ponce’s quest, turning his journey into a meditation on ambition, delusion, and the human longing for immortality.

The poem opens with a powerful observation that Ponce de Leon’s "youth was all too short," establishing the poignancy of his obsession with the Fountain of Youth. Howell describes Ponce as one who “scrawled his name and number into the Book of Certain Sorrows by wanting everything to stay, always, just the way it no longer was.” This line captures the irony and pathos of Ponce’s longing, as he desires a permanence that defies the natural course of life. His act of “scrawling” in the “Book of Certain Sorrows” suggests a misguided inscription into an eternal list of those who suffer from unfulfilled desires.

Howell’s description of Ponce’s physical appearance is equally satirical and insightful. His “fine moustaches and silver mirror,” and his “fingers buffed like little marble candlesticks,” paint a picture of vanity and fastidiousness, suggesting that Ponce is a man deeply preoccupied with appearances. His “heart-shaped box where he sent hope to lie against itself” symbolizes his inward, almost self-centered form of hope—hope that revolves around his own desire rather than any outward purpose. Howell implies that Ponce’s obsession with youth and beauty has made him increasingly insular, relying on tokens and mirrors that reflect his own longing back to him.

The poem then turns to Ponce’s quest, describing it as if he were navigating with “prayer beads as navigational aids,” an image that imbues his journey with both a sense of spirituality and futility. Ponce’s prayer beads, often symbols of faith and devotion, here serve as inadequate guides through the “mangrove swamps.” Howell thus presents Ponce as a man whose faith in miracles and mythical cures is as strong as it is irrational, his hope misplaced but fervent. Ponce is driven by an impossible belief that salvation lies just beyond the next clearing, hacking his way toward an unattainable dream while the natural world, symbolized by the swamps, seems almost mocking in its impenetrability.

Howell humorously portrays Ponce’s name as “falsely intricate, like a Swiss watch made of chocolate,” suggesting a complexity that is superficial and ultimately fragile. This playful metaphor diminishes Ponce’s grandeur, hinting that he is out of place in his own myth, an explorer built on dreams rather than practicalities. Howell also points out that Ponce “was small and getting smaller as the quest went on,” an observation that captures his diminishing physicality and spirit. As he grows weaker, Howell depicts Ponce as almost pitiable, his shrinking form a symbol of the futility of his efforts. His armor, which he “had... taken in” multiple times, becomes a literal and figurative shell that fails to protect him from the harsh realities of age and disillusionment.

The poem then paints a scene of Ponce and his men as “clanking choristers” singing together as they slog through the wilderness. Howell imagines them singing not out of joy or religious devotion but to maintain a semblance of sanity, their voices a “tune” meant to distract from the madness of the journey. Ponce’s singing reveals his determination to hold onto hope and belief, even when all evidence points to the contrary. It is as if the act of singing alone can ward off despair and keep the men united under his increasingly fragile authority. Ponce is depicted as a “mad” leader who would “lead without followers if he had to,” his self-belief so intense that he is willing to proceed alone, if necessary, into the unknown.

In the final lines, Howell encapsulates the loyalty and sacrifice of Ponce’s followers. Against all odds and logic, his men “stared him in the crazed / crossed eyes and said, here is all we have, our youth.” This image is both moving and tragic, as the men recognize the futility of Ponce’s quest yet offer him the only thing they have: their own youthful energy and vitality. The line “Not quite a fountain, but take it. Take everything” serves as a poignant irony, as the men surrender their youth to a man who will never find the mythical source he seeks. Their offer of “everything” is a reflection of their loyalty, but it is also a quiet acknowledgment that, despite their sacrifice, Ponce’s quest is destined for failure.

"Everything" is ultimately a commentary on human ambition, the yearning for impossible dreams, and the delusions that can arise from these desires. Howell’s Ponce de Leon is both a tragic and absurd figure, one who captures the essence of humanity’s futile quest to escape time and mortality. Through vivid imagery and a mix of humor and pathos, Howell presents Ponce as a man whose longing for the impossible blinds him to reality, even as those around him offer their support out of loyalty rather than belief. The poem leaves us with a vision of a man pursuing an illusion, a cautionary figure caught in the eternal chase for a fountain that lies forever beyond reach, reminding us of the dangers of living for what can never be.

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