Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker’s "Poem Beginning with a Line by Fitzgerald/Hemingway" uses the famous line "The very rich are different from us" as a springboard to explore the nature of heroism and the moral complexities faced by individuals during times of extreme crisis. The poem weaves together references to historical figures who performed extraordinary acts of bravery during the Holocaust, juxtaposing their actions with the speaker’s own sense of inadequacy and awe. Through this exploration, Ostriker delves into the tension between ordinary human fears and the extraordinary courage displayed by a few, questioning what drives such heroism and whether it can be understood or replicated.

The poem begins by expanding on the idea that the "very rich are different from us" by extending it to other categories: "The very / Attractive have more lovers, the very sensitive / Go mad more easily, and the very brave / Distress a coward like myself." This introduction establishes a sense of distance between the speaker and those who possess extraordinary qualities, particularly bravery. The speaker’s self-identification as a "coward" sets up a contrast between the ordinary, fearful person and the remarkable individuals who rise to moral greatness in times of crisis.

The poem then directly addresses literary figures—Scott Fitzgerald, Ernest Hemingway, and Walt Whitman—inviting them into the conversation about the nature of heroism. The speaker admits to understanding "the large / Language of rhetoricians," but not "the large / Hearts of the heroes," indicating a disconnect between intellectual understanding and emotional or moral capacity. This admission of a gap between knowledge and action serves as a central theme in the poem, as the speaker grapples with how to comprehend and, perhaps, emulate the actions of historical heroes.

The poem shifts to recount specific instances of heroism during World War II, beginning with Raoul Wallenberg, the Swedish diplomat who issued protective passports and sheltered Jews in Budapest, saving tens of thousands of lives. The image of Wallenberg "waving off the muddy Gestapo" with an "imperious, an impatient flourish" captures the audacity and moral clarity required to stand against evil, even in the face of overwhelming danger. The poem paints Wallenberg’s actions with a sense of grandeur, likening them to divine gestures, as when "God's biceps and triceps" gesture life to Adam. This comparison elevates Wallenberg’s defiance to a near-mythical level, emphasizing the profound impact of his choices.

The poem continues with the story of Oskar Schindler, the German industrialist who saved over a thousand Jews by employing them in his factories. Schindler's motivations are complex—initially driven by profit, he ultimately sacrifices his wealth to protect his workers. Ostriker captures this complexity by noting that Schindler "lived steep, and ended / Penniless," yet was honored by the Jews he saved. The poem’s recounting of the gift Schindler received—a ring inscribed with the Talmudic phrase "Who saves a single life, / It is as if he saved the universe"—underscores the profound moral weight of his actions.

André Trocmè, the French pastor who organized the rescue of thousands of Jews in Le Chambon-sur-Lignon, is also highlighted for his quiet but effective resistance. The poem portrays Trocmè as a figure of moral steadfastness, refusing to give in to the demands of the Vichy regime and instead mobilizing his community to protect those in danger. His actions are described with a sense of calm determination, as he and his followers ensure that "the houses empty and the cool woods fill / With Jews and their false papers."

Throughout these accounts, the speaker continues to grapple with the question of how such heroism is possible, asking, "how? The handsome Swede / Was rich, was bored, one might have said. The pastor / Had his habit of hugging and kissing, and was good / At organizing peasants." The speaker acknowledges the ordinary qualities of these extraordinary individuals, suggesting that their heroism is not entirely explainable by their circumstances or personalities.

The poem closes with a reflection on the unpredictability of courage: "We are afraid — / Yet as no pregnant woman knows beforehand / If she will go through labor strong, undrugged, / Unscreaming, and no shivering soldier knows / During precombat terror who will retreat, / Who stand and fight, so we cannot predict / Who among us will risk the fat that clings / Sweetly to our own bones." This comparison to childbirth and combat emphasizes the uncertainty and the deeply personal nature of courage. The poem concludes that while none of us can know in advance how we will act in a crisis, there is a possibility within each of us to rise to the occasion, though it remains an unpredictable and mysterious force.

Ostriker’s "Poem Beginning with a Line by Fitzgerald/Hemingway" is a powerful meditation on the nature of heroism, the limitations of understanding, and the moral complexities faced by individuals in times of great peril. Through its exploration of historical figures and the speaker’s own reflections, the poem highlights the tension between the ordinary and the extraordinary, suggesting that while heroism may be difficult to comprehend or predict, it is nonetheless a vital part of the human experience.

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