Classic and Contemporary Poetry: Explained

Carolyn Kizer’s "Where I’ve Been All My Life" is a richly textured poem that traverses continents and cultures, reflecting on personal history, identity, and the intersections of the past and present. The poem is divided into three sections, each exploring different geographical and emotional landscapes, blending personal memory with broader cultural observations.

In the first section, the speaker addresses "Sirs," indicating a male audience captivated by women’s experiences and histories. The speaker suggests that while men may initially be drawn to women’s appearances, they ultimately become fascinated with the stories women carry: "Older, you fall in love with what we’ve seen." This opening sets the stage for a journey through the speaker’s memories and experiences, beginning in Rotterdam. The city symbolizes a connection to her ancestry, as she finds her own face and her father’s in the people around her. The imagery of children "fed on tulip bulbs and dirt" during wartime evokes a sense of hardship and resilience. The speaker’s reflections on her "big Dutch frame" and her Southern phrase "I’ll carry you" reveal a desire to bridge the physical and emotional distances between herself and her heritage.

The poem then shifts to a more detailed depiction of Rotterdam, focusing on its "raw, gray waterfront" and the striking Zadkine memorial, which represents the city’s destruction and rebirth. This section underscores the tension between the past’s lingering presence and the resilience needed to move forward. The "bronze" of the memorial, described as "mortal" and "gaping in defeat," serves as a powerful symbol of the city’s—and the speaker’s—struggle and perseverance.

In the second section, the speaker moves to Istanbul, a city laden with history and transformation. The architecture, described as "breasts and phalluses," symbolizes both fertility and dominance, reflecting the city’s complex heritage. The speaker’s critique of Yeats and the assertion that "words are lies" emphasizes the gap between romanticized notions of the past and the stark realities of the present. The description of Istanbul as "embalmed in dancing dust" conveys a sense of decay amidst beauty. The contrast between the traditional Turkish coffee culture and the "beige of progress" highlights the cultural shifts taking place.

The speaker’s interaction with the guide, a "sultry, serious, pedantic boy," reveals a personal connection to the city’s changing landscape. The guide’s entrapment by the "triple city weighing on his mind" parallels the speaker’s own sense of being caught between different worlds. The reference to Dog Island, where dogs are exiled and left to die, serves as a metaphor for the abandonment and marginalization experienced by certain segments of society. This image is intertwined with the notion of harems and the commodification of women, further critiquing the historical and cultural treatment of women.

The third section transports the reader to Shanghai, where the speaker recalls a formative experience of youthful wonder and discovery. The description of the train journey through fields of "rice and men" captures a moment of cultural immersion and sensual awakening. The speaker’s soul "swims out the window of the train," signifying a liberation from physical and cultural constraints. The imagery of "newborn daughters clog[ging] the creeks" and "starving rags" strewn about underscores the harsh realities of life in China during that period.

The speaker’s reflection on "the old dragon, China, thrashes, dying" juxtaposes the country’s ancient cultural legacy with its contemporary struggles. The "virile music of the race" rising amidst this turmoil suggests a deep-seated resilience and continuity. The speaker’s transformation from a young foreigner to someone deeply intertwined with these cultures is evident in her closing lines, where she invites a shared experience of death and rebirth in the "mosques of Rotterdam." This final image melds the various cultural and personal threads of the poem, emphasizing the interconnectedness of the speaker’s journey and identity.

"Where I’ve Been All My Life" is a poignant exploration of the intersections between personal history and broader cultural narratives. Through vivid imagery and reflective prose, Kizer captures the complexities of identity, heritage, and the passage of time, inviting readers to consider their own place within these ever-shifting landscapes.