Classic and Contemporary Poetry: Explained

Muriel Rukeyser's poem "Correspondences: Correspondences" is a rich, multifaceted exploration of the interplay between individual experiences and the broader historical forces that shape them. Through its vivid imagery and fragmented narrative, the poem delves into themes of war, laughter, memory, and the persistence of human spirit amidst chaos and destruction.

The poem begins with an epigraph from Kenneth Burke, emphasizing that aesthetic endeavors are inevitably influenced by historical necessities. This sets the stage for the poem's exploration of how personal and collective histories are intertwined. "Wars between wars, laughter behind the lines" immediately introduces a juxtaposition between conflict and moments of respite, suggesting that even in the midst of turmoil, there are glimpses of humanity and humor.

Rukeyser uses the metaphor of "trench-laughter" to convey the complex nature of this humor. It is not the innocent laughter of children, but a darker, more cynical response to the harsh realities of war: "the trench-laughter of the wounded, of radios, / of animal cartoons." This laughter serves as a coping mechanism, a way to navigate the relentless bombardment of bad news and the omnipresent threat of violence.

The poem vividly portrays the urban landscape as a site of struggle and resilience. The image of "an old actress / trying against the trying wind under the skyscrapers" evokes a sense of enduring strength and dignity amidst adversity. Her "blind ageing face" and "the look of the lioness" symbolize both vulnerability and fierce determination. This character understands the pervasive laughter that permeates the city, a laughter that "takes up the slack, / changes the fact, narrowing it to nothing."

Rukeyser then shifts to the broader implications of this laughter and the historical context in which it occurs. She describes the ominous presence of "the male and hairless hand of fear / in a shiny leather sleeve / armed," a clear reference to the fascist regimes of the early 20th century. The "radiations of harm" emanating from figures like Hitler are depicted as black grooves in photographs, a visual metaphor for the insidious spread of destructive ideologies.

The poem's narrative voice becomes increasingly urgent as it reflects on the century's rites of passage: "by filth in childhood, / by wealth in the middle, / by death at the end." This progression underscores the inevitability of suffering and the cyclical nature of history. The characters within this narrative, including the "novelist, pimp of character," and "the general, pimp of wars," are portrayed as manipulators of history, shaping and being shaped by the events they document.

As the poem reaches its climax, Rukeyser presents a series of apocalyptic images: "And the planes fall. Soon the whole incident is / over, all but the consequences." This line captures the fleeting nature of catastrophic events, with their immediate impact giving way to long-lasting repercussions. The repetition of "laughter" throughout the poem serves as both a refrain and a stark reminder of the paradoxical coexistence of joy and despair.

In the final stanzas, Rukeyser introduces the "Floating Man, gentle above the cities, / afraid to touch," a symbol of detached observation and the haunting presence of war. The "humor, saliva of terror," although not a solution, provides a momentary escape from the relentless march of history. The poem ends on a somber note, with a reflection on the passage of time and the inexorable movement of history: "Violent electric night! and the age spiralling past / and the sky turning over, and the wind turning the stars."

"Correspondences: Correspondences" is a powerful meditation on the complex interplay between individual experiences and historical forces. Rukeyser's use of vivid imagery, fragmented narrative, and poignant reflections creates a compelling portrayal of a world shaped by conflict, resilience, and the enduring human spirit. The poem invites readers to consider the ways in which their own lives are influenced by the broader currents of history, and to find meaning and strength in the face of adversity.

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