Classic and Contemporary Poetry: Explained

"To Crane," by Clayton Eshleman, is a reflective and poignant poem that contemplates cultural memory, historical trauma, and personal identity through a hypothetical conversation with the poet Hart Crane. Eshleman employs vivid imagery and deep cultural references to create a dialogue that spans across time, geography, and personal consciousness, urging a reconsideration of past, present, and spiritual orientation.

The poem begins with a striking scenario, inviting Crane to imagine himself in Yunotsu, Japan, submerged in a spa alongside "burned pilgrims from Hiroshima." This powerful image immediately draws attention to the scars left by historical events—specifically, the atomic bombings—and their ongoing impact on human lives. The mention of "green spa water" juxtaposed with "burned pilgrims" serves as a potent metaphor for healing and suffering coexisting, highlighting the complex aftermath of trauma.

Eshleman's use of the "Adam & Eve panel of the Garden of Earthly Delight folded against the central explosion next to Hell" intensifies this dialogue. By referencing Hieronymus Bosch's painting, he aligns the biblical fall of man with the catastrophic human-made disaster of Hiroshima, suggesting a loss of innocence and a confrontation with profound evil or suffering. This alignment prompts a deep moral and existential inquiry, particularly directed at Crane as an American and, symbolically, at America's historical actions.

The imagery of "kind, middle-aged couples peering parted shoji" as the speaker climbs "sadly, the ryokan steps" further deepens the sense of alienation and loss. The physical separation through shoji (traditional Japanese sliding doors) underscores a metaphorical distance between the observer and the observed, between the self and the other, and between past actions and present consequences. This separation challenges the speaker's ability to connect, love, or reconcile with the weight of historical memory.

The poem's call to "read Reich & try to turn the tables back" references Wilhelm Reich, a thinker known for his work on human sexuality and political radicalism, suggesting a return to primal, fundamental human experiences as a way to reclaim innocence or purity lost through modern catastrophes. This is not a call to "Lie to us, —dance us back the tribal morn!" but rather a plea for a more profound, genuine return to essentials—sexuality, nature, and spiritual purity—as mediums for healing and understanding.

The final stanza expands this reflection into a broader cultural and poetic meditation. The mention of "Ohio & 'The Bridge,'" refers to Crane's own poetic legacy, particularly his epic poem "The Bridge," which grapples with American identity and modernity. Eshleman suggests that true understanding or recovery—personal, historical, cultural—might only be found beyond mere art or intellectualization, in a direct engagement with life's most fundamental forces and realities ("Purgatory, Havana Rose, & that Circumstance").

By invoking Rimbaud's transformation at the end of his life, indicated through "Rimbaud at the end of L'enfer," Eshleman hints at the possibility of profound personal change following intense suffering or existential crisis. This suggests a pathway not only for Crane but for anyone grappling with their historical and cultural legacy.

"To Crane" is thus a deeply layered, evocative poem that uses the hypothetical presence of Hart Crane in a Japanese spa as a catalyst for exploring themes of guilt, historical awareness, healing, and the possibility of redemption through a return to the elemental forces of life. It challenges the reader to consider the depth of our connections to history, the implications of our cultural identities, and the potential for personal and collective transformation through a radical engagement with the roots of our being.

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