Classic and Contemporary Poetry: Explained

"By the Riverside" by Carolyn Kizer is a poem rich with evocative imagery and profound reflections on memory, history, and the intersection of personal and cultural identity. The poem begins with a stark statement, "Do not call from memory—all numbers have changed," setting the tone for a meditation on the impermanence of both physical and emotional landmarks. This opening line suggests a world where the past is elusive, and attempts to reach back to it are fraught with difficulty.

The poem transitions into a vivid recollection of the speaker's childhood home by a stream called Hangman's Creek. The name itself is steeped in history and violence, referencing the execution of three Native Americans on an old pine tree. This historical memory is intertwined with the speaker's personal memories, creating a layered narrative that explores how history and personal experience shape one another.

Kizer's use of the crucifixion as a metaphor for the hanging tree highlights the intersection of cultural narratives. The speaker, as a child, models the crucifixion on the tree, merging Christian iconography with the brutal history of the Native Americans who were executed there. This act of blending two different histories speaks to the complexities of cultural memory and the ways in which stories are passed down and interpreted.

The poem then shifts to a more personal memory of an old Indian wading in the stream during winter. This figure, proud and resilient, stands in stark contrast to the violence and erasure suggested by the hanging tree. The Indian's physical presence and his declaration of "Cold!" assert a sense of enduring strength and dignity. This memory is vivid and tactile, contrasting with the abstracted and historical nature of the earlier imagery.

Kizer's depiction of the Indian and his squaw in the water reflects a deep respect for their presence and resilience. The image of the old Indian striking his chest and standing tall in the cold water embodies a defiance and connection to the natural world that transcends the historical injustices referenced earlier. This scene captures a moment of human dignity and pride that the speaker recalls with clarity and admiration.

The poem's exploration of memory continues as the speaker reflects on their childhood understanding of power and divinity. The imaginative image of a lion entangled in wires, controlling the switchboard, suggests a child's vision of power as both mysterious and animalistic. This vision merges with the speaker's prayers and fears, creating a tapestry of belief that includes both Christian and indigenous elements. The wind, described as the "power of quiet animals," further blurs the lines between human, animal, and divine forces.

Kizer's language is rich with sensory detail, capturing the texture of childhood fears and imaginings. The wind tearing at the gutter, the shadows of lions blotting the walls, and the moaning beneath the eaves all contribute to a vivid and immersive atmosphere. This sensory richness underscores the poem's exploration of how memory and imagination intertwine to shape our understanding of the past and present.

The poem concludes with a reflection on the speaker's current relationship to these memories. The final lines, "Now I call up god-head and manhood, both, / As they emerged for a child by the Riverside. / But they are all dead Indians now. They answer / Only to me. The numbers have not changed," suggest a profound sense of isolation and responsibility. The speaker acknowledges that these memories and histories are now solely theirs to bear, their meanings and resonances unchanged by time.

In "By the Riverside," Carolyn Kizer masterfully weaves together personal and historical narratives, creating a rich tapestry that explores the complexities of memory, identity, and cultural heritage. The poem's vivid imagery and reflective tone invite readers to consider how their own memories are shaped by the histories they inherit and the stories they tell themselves.