Classic and Contemporary Poetry: Explained

Robert Penn Warren’s "Mexico Is a Foreign Country: 2. Siesta Time in Village Plaza by Ruined Bandstand and Banana Tree" is a reflective, almost whimsical, meditation on the juxtaposition of idleness and larger political or cultural concerns. Set in a sleepy Mexican village during siesta time, the poem contemplates the inescapable heat and inertia of the moment, while also hinting at broader societal, historical, and political issues through references to figures such as Ernest Hemingway, Henry Wallace, and Standard Oil. Despite the presence of these global concerns, the speaker ultimately returns to the immediate and mundane, settling into the rhythm of the village’s slow, languid pace.

The opening lines, "If only Ernest now were here / To praise the bull, deride the steer," introduce the figure of Ernest Hemingway, the famous writer known for his love of bullfighting and his macho persona. Warren imagines Hemingway in the village, engaging in his characteristic bravado by critiquing the local scene, reducing its nuances to physicality ("the local beauties' grinds and bumps"). This playful invocation of Hemingway contrasts with the sleepy, stagnant atmosphere of the village plaza. Hemingway’s absence highlights the speaker’s own feeling of isolation and the lack of dynamic, stimulating conversation or action.

The poem then turns to a hypothetical scenario in which the Baptists arrive to "dip local sinners in the picturesque lake." This image, too, is laced with irony—the idea that the Baptists, with their spiritual pride, might bring not only moral salvation but also a "nationally advertised insecticide" suggests a critique of American interventionism and religious proselytizing. This idea that external forces—whether religious or corporate—are expected to solve local problems is underscored by the mention of Henry Wallace, a prominent American politician, and Standard Oil, symbolizing American corporate exploitation.

The poem critiques both the lofty idealism of figures like Wallace, who would "smile his smile of the bashful Jesus" at the local population, and the more cynical intrusion of corporations like Standard Oil, which would "puncture this parched soil" and add to the locals' woes. The mention of "pomaded politicos" who would be "corrupt[ed]" further emphasizes the theme of exploitation, as Warren suggests that political and economic power in this setting is easily manipulated by outside interests. The local people, described as "peons," are portrayed as powerless in the face of these external forces.

Amidst these reflections on global politics and intervention, the speaker is situated in the present moment, sitting in the plaza and sweating, much like the "toothsomer beauties" who are "sweating / On beds in need of mosquito netting." The speaker’s own situation is marked by idleness and an almost existential resignation, as he meditates "on my last beer" and feels disconnected from the broader concerns of the world. The sweltering heat and the locked-down village create an atmosphere of lethargy, where the only companions are a "poor old dog and the poor dog's flea."

The poem takes a humorous turn when the dog, in a "sudden burst of energy," moves toward the banana tree, shattering the peace of the quiet afternoon. The speaker watches this minor action unfold with amusement, appreciating the dog’s "sound idea" in the midst of the stifling heat and inaction. This brief moment of movement and energy contrasts with the otherwise static environment, reflecting the speaker’s own inner tension between the pull of larger concerns and the reality of being trapped in a place where not much happens.

The poem’s closing lines return to the theme of inertia and the famous Mexican concept of "mañana," or tomorrow. Even the dog’s brief burst of energy fades, and the speaker reflects that "the bladder achieves Nirvana," a wry acknowledgment that bodily functions and comfort become paramount in a place where nothing much else occurs. The speaker is left to contemplate the future—or rather, to put off thinking about it—with the thought, "mañana." This word, which connotes a deferment of action to an indefinite future, encapsulates the sense of delay and inaction that characterizes the entire scene.

In "Mexico Is a Foreign Country: 2. Siesta Time in Village Plaza by Ruined Bandstand and Banana Tree," Robert Penn Warren explores themes of stagnation, cultural intervention, and the tension between global concerns and personal idleness. Through humorous, ironic imagery and references to larger-than-life figures like Hemingway and Wallace, the poem critiques the idea that external forces—whether religious, political, or corporate—can truly impact or change the slow, unchanging rhythms of life in a place like this Mexican village. The speaker, trapped in the heat and lethargy of siesta time, ultimately resigns himself to the reality of inertia, content to sit and reflect on the day’s last beer, while everything else, including action, is deferred to tomorrow.

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