Classic and Contemporary Poetry: Explained

Carolyn Kizer's poem "Suppressing the Evidence" addresses the overwhelming and often paralyzing impact of global tragedies and human suffering, exploring themes of denial, guilt, and the struggle for compassion in the face of widespread despair. Through vivid imagery and candid self-reflection, Kizer critiques not only the world's indifference but also her own attempts to shield herself from the pain of witnessing such horrors.

The poem opens with a stark reference to the Alaska oil spill, an environmental disaster that serves as a metaphor for the broader devastation the poet seeks to ignore: "Alaska oil spill, I edit you out. / You are too terrible to think about. / I X, I double-X you out." The repetition of "X" underscores the effort to erase these traumatic images from consciousness, emphasizing the difficulty and futility of such attempts.

Kizer extends this erasure to other global crises, notably the repeated floods in Bangladesh and the plight of the starving poor: "The starving poor who stare at us, / Stare with plaintive smiles, / Smiles without hope / As they clutch a bulbous-bellied child, / I erase your dark faces. / I edit you out." The juxtaposition of the innocent smiles of the suffering with the poet's act of erasure highlights the moral conflict and emotional burden of bearing witness to such suffering. The act of editing out these faces signifies a desire to escape the guilt and helplessness that comes with awareness.

The poem then shifts to a critique of the wealthy, who use their privilege to distance themselves from the harsh realities faced by the less fortunate: "From the dark windows of their limousines / The rich long since have waved their ringed hands, / Said Abracadabra, to disappear the poor." The imagery of the rich waving their hands like magicians, making the poor vanish from their view, underscores the deliberate ignorance and detachment of those in power. The metaphor of the homeless being "sucked down the dirty drains" paints a bleak picture of societal neglect and dehumanization.

Kizer's encounter with an emaciated young man on Madison Avenue serves as a personal and immediate example of this detachment: "On Madison a young emaciated man / In a threadbare jacket shivers in the snow. / Help me. Please. I have no place to go. / I hold out a dollar bill between his face and mine / Like the fan of an old Japanese courtesan, / Then hurry past as his face turns to smoke." The poet's use of the dollar bill as a barrier, like a courtesan's fan, symbolizes the superficial and inadequate responses to deep-seated issues of poverty and homelessness. The man's face turning to smoke signifies the transient and ghostly existence of the marginalized, further highlighting the poet's inner conflict and shame.

In an attempt to escape this pervasive suffering, the poet retreats to her "comfortable farm / In the valley of wine," seeking solace in alcohol: "I drink the wine. / I do not turn on the news. / I and the wine will blot it out." This retreat represents a common yet ineffective coping mechanism, where comfort and distraction are sought to avoid confronting harsh realities.

The poem concludes with a poignant and personal resolution: "And we erase more and more of the world’s terrible map; / How may we bear witness, as we should? / I must hold in my mind one small dead otter pup." Here, Kizer acknowledges the impossibility of erasing all suffering and emphasizes the importance of bearing witness to at least one small, tangible piece of it. The image of the "small dead otter pup" symbolizes an innocent victim of human negligence and serves as a reminder of the individual tragedies that comprise the broader tapestry of suffering.

"Suppressing the Evidence" is a powerful meditation on the human tendency to turn away from suffering and the ethical imperative to confront and remember it. Through its vivid imagery and introspective tone, the poem challenges readers to grapple with their own complicity and encourages a more compassionate engagement with the world's pain.

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