Classic and Contemporary Poetry: Explained

In "Reflexions on the Seizure of the Suez, and on a Proposal to Line the Banks of That Canal with Billboard Advertisements," Howard Nemerov crafts a satirical and critical commentary on colonialism, consumerism, and the exploitation of resources and cultures. Through a mosaic of place names and commercial slogans, Nemerov juxtaposes the global reach of imperialistic endeavors with the triviality and absurdity of modern advertising.

The poem opens with a litany of exotic and diverse place names: "From Molepolole and Morogoro, / Dongola, Dungun, Dush, / From Kongor and Gojjam and Juba, / Gagag and Segag and Geba Geba." These names, drawn from various regions across Africa and Asia, evoke a sense of vastness and diversity. This geographical sweep underscores the widespread impact of colonialism and the interconnectedness of global trade routes, particularly as they relate to the historical significance of the Suez Canal.

Nemerov then introduces the concept of commodities: "The bracelets of brass and the calico hankies / Come back a thousandfold." This line highlights the exploitation and commodification of native cultures, where their traditional crafts and materials are mass-produced and commercialized for profit. The repetition of place names and commodities serves to emphasize the relentless and pervasive nature of this exploitation.

The satirical tone becomes more pronounced with the introduction of commercial slogans: "Smoke Pyramids for Appearances' Sake." Here, Nemerov mocks the superficiality of consumer culture by tying it to the grandeur and mystique of ancient Egypt, symbolized by the Pyramids. The absurdity of using a monumental symbol for a mundane product like cigarettes underscores the trivialization of cultural heritage in the face of commercial interests.

The poem continues with a barrage of place names interspersed with more advertising slogans: "Drink Pyramids the World's Premier Aperient," and "For That Serious Fear, Take a Pyramid." These lines blend the commercial with the geographical, suggesting a pervasive infiltration of consumer culture into every corner of the globe. The juxtaposition of serious, often exploited places with frivolous advertising slogans highlights the dissonance between the weight of historical and cultural significance and the triviality of modern consumerism.

Nemerov's critique extends to the notion of power and control: "It is the same. Everywhere the givers / Are in the hands of the receivers." This line encapsulates the power dynamics inherent in colonialism and global trade, where those who produce and provide are often subjugated by those who consume and profit. The repeated invocation of the Pyramids, a symbol of both ancient grandeur and modern exploitation, ties these themes together.

The poem's conclusion brings the critique full circle: "Though oil cast upon the troubled waters / May be returned as capital gains. / Pyramids Are Silent, Speedy, Safe. / -Next Time, Go by Pyramid." Here, Nemerov references the use of oil to calm turbulent waters, a metaphor for the temporary and superficial solutions applied to deeper systemic issues. The final lines mockingly endorse the Pyramids as a travel option, encapsulating the absurdity of commercializing something as historically significant and culturally rich as the Pyramids for modern, consumerist purposes.

"Reflexions on the Seizure of the Suez, and on a Proposal to Line the Banks of That Canal with Billboard Advertisements" is a poignant and incisive critique of the intersections between colonialism, consumerism, and cultural exploitation. Through its rich tapestry of place names and commercial slogans, the poem exposes the trivialization of cultural heritage and the pervasive influence of commercial interests on global history and identity. Nemerov’s use of satire and irony invites readers to reflect on the deeper implications of these global dynamics, urging a reconsideration of the values and forces that shape our world.

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