Classic and Contemporary Poetry: Explained

Maxine Kumin?s "Getting There" is a succinct yet thought-provoking exploration of faith, disbelief, and the sociopolitical pressures surrounding public expressions of religion. Written with characteristic wit and sharp observation, the poem reflects on the tension between personal belief systems and societal expectations in a world increasingly polarized by public displays of piety.

The poem begins with a seemingly paradoxical assurance offered to the speaker: “There is a special place that God has set in Heaven for Good Atheists.” This statement, attributed to the devout brother of a fan, introduces the poem’s central irony. The idea of a reserved place in Heaven for those who reject its very premise humorously underscores the contradictions often present in religious and philosophical dialogues. By framing this claim as something the speaker finds "relieved to hear," Kumin establishes a playful tone while hinting at deeper tensions about belonging and acceptance.

Kumin situates the poem within a contemporary context of heightened religiosity following a national tragedy. The reference to “Satan brought the Towers down” directly invokes the events of September 11, 2001, and the subsequent surge of public religiosity in the United States. This setting amplifies the speaker’s position as a self-identified atheist, emphasizing how dissent from dominant religious narratives can feel isolating in times of collective mourning or fear. The speaker observes that "there won?t...be much of what you?d call a crowd," in the supposed heavenly enclave for atheists, reflecting on the marginalization of atheism in a culture increasingly defined by visible and vocal faith.

Kumin’s use of historical and literary allusion enriches the poem’s meditative tone. She invokes Bernard Shaw and Maxim Gorky, both prominent atheists and intellectuals, as kindred spirits in her imagined afterlife. This gesture aligns the speaker with a lineage of thinkers who challenged dominant religious ideologies, framing atheism not as nihilism but as a thoughtful and principled stance. Gorky’s connection to the 1929 International Convention of Atheists, mentioned in the poem’s dedication, adds a layer of historical resonance, suggesting that disbelief has long been a space for intellectual and cultural resistance.

The poem?s brevity belies its complexity. Kumin deftly weaves humor with existential inquiry, inviting readers to consider the personal and societal implications of faith and doubt. The speaker’s wry acknowledgment of their solidarity with Shaw and Gorky—“save me a seat. I?m one with ye”—is both a lighthearted conclusion and a profound statement of identity. It signals an embrace of atheism as a community and intellectual tradition, even in the face of cultural and historical pressures to conform.

Through its sharp wit and incisive commentary, "Getting There" captures the loneliness and defiance of holding an unpopular worldview. Yet, it also celebrates the courage and camaraderie of those who dare to question, offering a nuanced perspective on belief, belonging, and the ever-shifting landscape of faith in public life.

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