Classic and Contemporary Poetry: Explained

Carolyn Kizer’s poem "On Rising from the Dead" is an intricate exploration of self-recovery and renewal, intertwining themes of resurrection, decay, and the cyclical nature of life. The poem uses vivid imagery and metaphor to convey the complex process of reassembling one's fragmented self after a period of metaphorical death or dormancy.

The poem begins with a description of a slow, groggy awakening: "Saturday noon: the morning of the mind / Moves through a mist to breakfast: damp from sleep, / Rustic and rude, the partial self comes down / To face a frozen summer, self-imposed." This opening situates the reader in a moment of transition from sleep to wakefulness, where the self is only partially present and struggling to regain coherence.

Kizer paints a picture of disconnection and fragmentation: "Then, as the numb shades lift, becomes aware / Of its other half, buried overhead, / A corpse in twisted sheets, a foggy portrait / Smudged in the bathroom mirror-elegies." The image of the self as a "corpse in twisted sheets" reflects a state of inner death or disintegration, while the "foggy portrait" suggests a loss of clear identity.

The poem continues to explore the theme of absence: "Nobody's home at home, the house announces. / And the head nods, nobody's home in here. / The bird of dawning silent all day long, / Nobody's home to nobody abroad." This repetition emphasizes a profound sense of emptiness and the struggle to reconnect with oneself.

Kizer uses rich metaphors to describe the attempt to reassemble the self: "The midget fingers, elbows, eyes and toes, / To patch again the china egg. And horses, / Masculine cavalry of the will, prance, pull / The egg, in cobweb harness, up the hill." The metaphor of the "china egg" represents the fragile, yet essential, core of the self that must be painstakingly reassembled.

The poem juxtaposes the physical and emotional aspects of renewal: "Reluctantly, the self confronts the self / Ripped, untimely, from its naked bed, / The winding sheets tossed down the laundry chute. / The room's aroma: whiskey and ripe fruit / Stale with fulfillment." This confrontation with one's own raw and imperfect state is a necessary step in the process of recovery.

Kizer reflects on the inevitable decay that accompanies life: "Still, air the rooms! though fruit and flowers cry, / 'leave light, leave air to buds! Beyond bloom, / Who cares?' Get thee to compost heap. / Renew, the self prays to decay. Renew!" Here, the poet acknowledges that renewal often involves accepting and transforming decay into new growth, much like a compost heap turns waste into fertile soil.

The imagery of a "solar King" and a "subterranean mole" serves to symbolize the dual aspects of the self, embodying both light and darkness: "What rose again / To mend its wounds by fading Saturday? / A solar King, a subterranean mole? / Or both? Did severed parts personify / The Prince of Darkness and the Prince of Light?" This duality suggests that true renewal involves integrating all aspects of oneself, both positive and negative.

The poem concludes with a powerful ritualistic image: "Communion Sunday, / With Dionysus, singing from the Cross." This fusion of Christian and pagan imagery underscores the theme of resurrection and the celebration of life's cyclical nature, where death and rebirth are intertwined.

"On Rising from the Dead" by Carolyn Kizer is a richly layered poem that delves into the process of personal renewal and the complexity of self-recovery. Through its vivid imagery and reflective tone, the poem captures the transformative journey from fragmentation to wholeness, emphasizing the importance of embracing all aspects of the self in the ongoing cycle of life and rebirth.

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