Classic and Contemporary Poetry: Explained

Carolyn Kizer’s poem "October, 1973" captures the tumultuous emotions and sense of helplessness in the face of political oppression and personal loss. Set against the backdrop of New York, the poem intertwines personal anguish with political turmoil, specifically referencing the Chilean poet Nicanor Parra and the death of Pablo Neruda, which followed the Chilean military coup in 1973. Kizer uses the dream motif to weave a narrative of futile searches, hollow promises, and the profound disconnect between the privileged and those suffering under tyranny.

The poem opens with the speaker’s frantic search for help in New York: "Last night I dreamed I ran through the streets of New York / Looking for help for you, Nicanor." The immediate urgency is palpable, yet the speaker is thwarted at every turn by the indifference or preoccupation of her wealthy friends. Their "absently smiling" demeanor and the triviality of their concerns—trying on gowns, attending social engagements—highlight a stark contrast to the dire need for aid.

Kizer’s critique of the wealthy is scathing yet nuanced: "They posed before mirrors, / with their diamonds and trinkets and floor-length furs. / Smiling at me from the mirror, they vaguely promised help." This imagery portrays a world where appearances and superficial gestures dominate, masking an underlying detachment from real human suffering. The repeated, insincere reassurances—"It will be all right"—further emphasize the emptiness of their promises.

The poem then shifts to Barbara, a friend with a history of real activism: "Who, as a young girl, rescued four Loyalist soldiers / from a Spanish prison." Barbara’s genuine courage and past actions provide a stark contrast to the previous scenes of wealth and apathy. However, even Barbara is caught in the anachronistic act of calling Barcelona, symbolizing the disorientation and ineffectiveness in the face of new, contemporary crises.

Kizer evokes a haunting auditory imagery: "through the chatter of international operators, / we hear artillery fire, the faint tones of lost men, / cracked voices singing, 'Los Quartros Generales.'" This auditory motif connects past struggles with present ones, encapsulating a history of political violence and resistance. The line from García Lorca—"Agonía, agonía, sueño, fermente & sueño"—reinforces the theme of perpetual suffering and dream-like anguish.

The dream’s anachronisms and disjointed realities culminate in the tragic imagery of Santiago: "The church bells of Santiago / tolling the funeral of Neruda, his poems looted, / his autobiography stolen, his books desecrated." The detailed description of the desecrated house of Neruda, a symbol of cultural and intellectual violation, captures the widespread despair following the military coup in Chile. The image of "great floral wreaths from the Swedish academy, / the wreaths from Paris, South Asia, the whole world over" juxtaposes global recognition with local devastation.

In the climax, the speaker hears Nicanor’s voice: "sad, humorous, infinitely disillusioned, / infinitely consoling." This moment of connection is abruptly cut short as the speaker awakens, underscoring the ephemeral and fragile nature of hope amidst overwhelming despair. The final lines return to a haunting silence: "in this white room, in this white silence, / in this backwater of silence / on this Isla Blanca."

The poem closes with a poignant invocation: "Nicanor, Nicanor, / are you, too, silent under the earth, / Brother, Brother?" This address encapsulates the speaker’s profound sense of loss, the connection to the Chilean poets, and the shared humanity in the face of political and personal suffering.

"October, 1973" by Carolyn Kizer masterfully intertwines personal grief with political commentary, capturing the desolation of an era marked by oppression and loss. Through vivid imagery, historical references, and the interplay of dream and reality, Kizer evokes a powerful meditation on the inadequacy of superficial gestures and the enduring impact of genuine human connection and activism.

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