Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker’s poem "Covenant: 2. During the Bombing of Kosovo" is a profound meditation on the brutality of war, the suffering of the innocent, and the moral questions it raises in the face of such human tragedy. The poem weaves together biblical allusions, contemporary events, and a reflection on the nature of human violence and divine responsibility, creating a tapestry that forces the reader to confront the horrors of conflict and the persistent questions of justice and morality.

The poem opens with the line "Hevel may be translated vanity / or mist or vapor," invoking the Hebrew word "hevel," which is often associated with the concept of futility or transience, as seen in the biblical book of Ecclesiastes. Hevel is also the name of Abel, the first man whose brother, Cain, was not his keeper and murdered him. This dual meaning sets the tone for the poem, linking the ephemeral nature of life with the violence that can abruptly end it. The reference to Abel immediately brings to mind the idea of innocence destroyed by violence, a theme that resonates throughout the poem as it explores the impact of the Kosovo conflict.

The poem's structure mimics the repetitive nature of suffering and violence, with phrases like "like mist" and "like vapor" recurring throughout the text. This repetition reinforces the idea of the transient, almost invisible nature of the suffering of those affected by war, as if their pain and existence could easily dissipate like mist. The imagery of bombs falling "like mist from ten thousand feet / above the hills" creates a stark contrast between the distant, impersonal nature of modern warfare and the intimate, personal suffering it causes on the ground.

Ostriker vividly describes the plight of the refugees, their "unmanned families," women in slippers, and children in bare feet, who are forced to flee their homes with whatever they can carry. The repetition of "like mist" and "like vapor" underscores the fragility of their situation, as they move through a world that seems indifferent to their plight. The reference to "money / ripped off by border guards" highlights the exploitation and corruption that often accompany such crises, adding another layer of tragedy to the already dire circumstances.

The poem then shifts to a broader reflection on the nature of such violence, stating, "Not new under the sun / not new on throbbing bluelit screen." This line acknowledges the repetitive, cyclical nature of human violence and the desensitization that can come from witnessing such horrors repeatedly through the media. The "throbbing bluelit screen" evokes the constant presence of news media, delivering images of suffering into our homes, yet often leaving us numb and powerless to stop it.

Despite the overwhelming sense of futility and despair, the poem also contains a plea, a questioning of divine responsibility: "And you, you— / father of rain / what are you thinking." This address to God as the "father of rain" invokes a creator who controls the natural world, yet the poet questions what such a being could be thinking in the face of such human suffering. The rain, typically a symbol of life and renewal, becomes a bitter reminder of a higher power that seems distant or indifferent to the pain of those below.

The poem's final lines reflect a deep sense of disillusionment and moral questioning. The poet acknowledges the continued practice of rituals and traditions—"we still prepare our feast / of liberty and memory / we remain your children"—but this statement is fraught with ambiguity. The reference to "liberty and memory" suggests a connection to the Jewish tradition of Passover, a time of reflection on freedom and suffering. Yet, the tone here is one of weariness, as if these rituals, once meaningful, now seem hollow in the face of such persistent human cruelty.

In "Covenant: 2. During the Bombing of Kosovo," Ostriker confronts the reader with the harsh realities of war and the ethical dilemmas it poses. The poem’s use of biblical allusion, coupled with vivid imagery and repetition, creates a powerful commentary on the ephemeral nature of life and the seemingly endless cycle of violence that plagues humanity. The questioning of divine intention or indifference adds a layer of spiritual and moral inquiry, challenging the reader to consider the implications of faith and the role of a higher power in a world marked by such suffering. Ultimately, the poem leaves us with more questions than answers, reflecting the complex and often unresolved nature of these profound human concerns.

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