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Classic and Contemporary Poetry: Explained | |||
"Self-Portrait Photo of Rimbaud with Folded Arms: Abyssinia, 1883" by David Wojahn is a poignant exploration of the later life of the French poet Arthur Rimbaud, focusing on a period of his life far removed from his literary achievements, during his time in Abyssinia (modern-day Ethiopia) as a trader. This poem delves into themes of identity, disillusionment, and the haunting legacy of colonialism, using the imagery of a photograph to encapsulate Rimbaud's complex persona and the contradictions of his existence. The opening lines, "To be already your own ghost, to be weak light a-slither, somebody else in sandals," immediately establish a sense of estrangement and dislocation. Wojahn portrays Rimbaud not as the fiery young poet of his youth but as a spectral figure, haunted by his own transformation and disconnection from his past life. The phrase "already your own ghost" suggests a profound loss of self, a premonition of death, or perhaps a reflection on the way Rimbaud's poetic identity had already begun to fade into legend, even as he lived. The description of the photo, with Rimbaud's face a "latticework of shadow" and the "banana tree in sepia flames above your shoulder," evokes the exoticism and otherness of Rimbaud's surroundings. Yet, the mention of the photograph being "too white," over-exposed, and "plates washed in this country's bad water" points to the inadequacy of the medium to capture the full reality of Rimbaud's experience, as well as the corrosive effects of the colonial environment. Wojahn uses the term "simulacrum" to describe Rimbaud, highlighting the poet's transformation into an unrecognizable version of himself, engaged in activities—such as gunrunning and the slave trade—that starkly contrast with his earlier life. The "gunrunner squint" and "revenant self" further emphasize the ghostly, revenant nature of Rimbaud's existence in Abyssinia, a life marked by moral ambiguity and a profound sense of alienation. The poem starkly condemns the inhumanity of the colonial enterprise, with its reference to "leg irons for captives, last suppers for ghosts." Wojahn does not shy away from implicating Rimbaud in these atrocities, presenting a figure who is both victim and perpetrator, caught in the web of historical forces and personal choices that lead to a legacy of violence and exploitation. The final lines, "Alchemize silence. Alchemize fever. Gangrenous logos: cut it with a bone saw but the phantom pain goes on," suggest Rimbaud's attempt to transform his suffering and disillusionment into something bearable, even as the physical and moral corruption of his situation remains inescapable. The "phantom pain" evokes the enduring consequences of his actions and choices, a pain that persists even after the cause is removed, haunting Rimbaud's legacy. "Self-Portrait Photo of Rimbaud with Folded Arms: Abyssinia, 1883" is a powerful meditation on the complexities of Rimbaud's later life, exploring the darkness and ambiguity that can lie at the heart of human experience. Through vivid imagery and evocative language, David Wojahn invites readers to reflect on the multifaceted nature of identity, the impact of colonialism, and the ways in which history and personal legacy are intertwined. POEM TEXT: https://www.poetryfoundation.org/poetrymagazine/browse?contentId=40100
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