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Classic and Contemporary Poetry: Explained | |||
"The Program," by Kenneth Fearing, is a satirical and grim critique of war, propaganda, and commercialism. Written in the form of a theatrical program, the poem presents the devastation of war as a macabre spectacle, interspersed with commercial advertisements that reflect the absurdity of profiting off human suffering. Fearing juxtaposes the violence and tragedy of war with the commercialism of the advertising industry, highlighting the disconnect between reality and the carefully curated narratives presented to the public. The poem begins with a sequence of acts that frame the historical and geographical context of the war: "ACT ONE, Madrid-Barcelona, Act two, Paris in springtime, during the siege, ACT THREE, London, Bank Holiday, after an air raid, ACT FOUR, a short time later in the U.S.A." These acts represent various theaters of conflict across Europe and America during World War II and the Spanish Civil War. By presenting them as acts in a play, Fearing underscores the way these events were reduced to mere entertainment or spectacle. Immediately following these acts, Fearing introduces a commercial advertisement: "EAT ZEPHYR CHOCOLATES (Do not run for the exits in case of fire; The Rome-Berlin theater has no exits)" This advertisement for "Zephyr Chocolates" interrupts the grim scenes of war, emphasizing the absurdity of advertising in the context of global conflict. The parenthetical note—"The Rome-Berlin theater has no exits"—is a chilling reminder of the Axis alliance (Rome-Berlin) and the inescapability of war for many people. Another commercial follows: "SUZANNE BRASSIERES FOR PERFECT FORM" This advertisement for brassieres reflects the triviality and detachment of commercial products when juxtaposed with the horrors of war. Fearing continues the theatrical analogy with a list of the "cast," presented "in the order of disappearance": "Infants. Women and children, Soldiers, sailors, miscellaneous crowds—" The grim progression of disappearance emphasizes the indiscriminate and tragic toll of war on different groups of people. The poem then lists the escalating death tolls: "With 2,000 wounded and 1,000 dead, 10,000 wounded and 5,000 dead, 100,000 wounded and 50,000 dead, 10,000,000 wounded and 5,000,000 dead" These escalating numbers reveal the increasing scale of devastation, underscoring the sheer magnitude of human suffering. Fearing further critiques the political and religious institutions involved in the war: "(Scenes by the British ruling caste, Costumes, Bonnet, Laval, et al., Spanish embargo by the U.S. Congress, Music and lighting by Pius XI" By attributing "scenes," "costumes," and other theatrical elements to real-world actors such as the British ruling class, Bonnet (French politician Georges Bonnet), Laval (Pierre Laval, French Prime Minister), the U.S. Congress, and Pope Pius XI, Fearing implicates these figures and institutions in the orchestration of war. He portrays them as complicit in shaping the narrative and contributing to the suffering. The poem concludes with two final, grotesque advertisements: "SMOKE EL DEMOCRACIES, TRY THE NEW GOLGOTHA FOR COCKTAILS AFTER THE SHOW." "El Democracies" is a fictional brand, satirizing the idea of democracy as a marketable product. "The New Golgotha" refers to Golgotha, the site of Christ's crucifixion, suggesting that the commercialization of suffering has reached a blasphemous level. The invitation to "TRY THE NEW GOLGOTHA FOR COCKTAILS AFTER THE SHOW" suggests the casual and indifferent attitude of people who profit from tragedy and see war as an entertainment spectacle. Structurally, "The Program" uses a free verse format that mimics the layout of a theater program. The inclusion of advertisements and commercial language creates a jarring contrast with the serious subject matter, adding to the poem's satirical tone. In "The Program," Kenneth Fearing masterfully critiques the commercialization of war and the manipulation of public perception through propaganda and advertising. By presenting war as a theatrical spectacle, he reveals the absurdity of reducing human suffering to mere entertainment while highlighting the complicity of political and religious institutions in shaping the narrative. Ultimately, the poem serves as a powerful condemnation of the way commercial interests exploit and profit from tragedy.
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