Classic and Contemporary Poetry: Explained

"Passages 21: The Multiversity" by Robert Duncan is a vivid and intensely political poem that delves into the turbulent atmosphere of academic and societal unrest. This poem is set against the backdrop of the 1960s civil rights movements and student protests, particularly reflecting on the Free Speech Movement at the University of California, Berkeley. Duncan employs mythological imagery and a fiery tone to critique the powers that be—represented by university administrators and their corporate backers—as manipulative and oppressive.

The poem opens with a metaphor of the hydra, a mythological creature with many heads, symbolizing the multifaceted and regenerative nature of institutional corruption and deceit. The "heads of the hydra" are equated with "his false faces," which Duncan uses to suggest the duplicity and many facets of authority figures who manipulate public perception and suppress dissent. These figures are not just individuals but represent a systemic problem, as indicated by their description as "hired minds of private interests."

Kerr, mentioned in the poem, refers to Clark Kerr, who was the president of the University of California system during a period of significant student activism. Kerr is depicted as a puppet, with "the Bank of America, the Tribune, heads of usury, heads of war" metaphorically positioned behind him, pulling the strings. This imagery critiques the deep entanglement of educational institutions with corporate and political interests, suggesting a corruption of academic independence and integrity.

The poem forcefully accuses these authority figures of spreading "false news," a tactic used to discredit the student protestors and minimize the extent of their support and the legitimacy of their cause. Duncan details specific falsehoods purportedly propagated by these figures, such as claims about the behavior of students and the lack of support for the Free Speech Movement. This reflects historical tactics used by those in power to control the narrative and maintain their positions.

Chancellor Strong is another real figure referenced in the poem, Edward Strong, who served as the chancellor of UC Berkeley. He is depicted with particularly violent and draconian imagery, "the dragon claw biting his bowels," which conveys his fierce opposition to the students' demands. This metaphor extends to describe the total moral decay of the system, where conscience is "no longer alive," and the only language understood is one of violence and suppression.

The poem's narrative is punctuated with historical references that contextualize its criticism. For instance, Duncan cites Adlai Stevenson's remarks during the Korean War to highlight the hypocrisy of claiming peaceful intentions while engaging in violent actions overseas. This serves as an analogy to the university administration's claim of fostering an environment of free speech while actively suppressing it.

Toward the conclusion, Duncan shifts from critique to a more visionary tone, suggesting that despite the oppressive conditions, each day is both an ending and a beginning. This reflects a hope for renewal and change, where the "first word" and "door of the day" symbolize new possibilities and the continual fight for freedom. The emphasis on individual volition and the rejection of any communal good outside of this freedom stresses the existential fight for personal and collective liberty against institutional oppression.

Overall, "Passages 21: The Multiversity" is a powerful indictment of the corporate and political manipulation of educational institutions, a rallying cry for freedom of speech, and a philosophical reflection on the nature of authority and resistance. Through his rich use of mythological and historical references, Duncan articulates a deep-seated skepticism about the structures of power and a fervent belief in the revolutionary potential of individual and collective agency.

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