Classic and Contemporary Poetry: Explained

Albert Goldbarth's poem "A Brief, Symbolic History of the Two Opposed Forces at Daily Work in the Universe, with Interim Scene" delves into the tension between creation and destruction, preservation and decay, illustrating how these forces manifest throughout history and in personal memory. The poem juxtaposes the advancements in papermaking and the tragic losses of historical documents and human lives, creating a complex tapestry of civilization’s growth and its inherent fragility.

Goldbarth begins by chronicling the history of papermaking, highlighting its evolution from rudimentary processes to the sophisticated machinery of the Industrial Revolution. The detailed account of paper mills thriving along rivers and in sea ports, the substantial production figures in France and Germany, and the invention of mechanized papermaking by Louis-Nicolas Robert in 1799, all signify the relentless drive for progress and efficiency. This technological narrative symbolizes humanity's quest for knowledge and communication, a testament to civilization's achievements.

In stark contrast, Goldbarth then shifts to intimate and historical scenes that underscore the vulnerability of these achievements. The poet imagines early papermaking on the Nile's mud shores or in Central Asia, where someone first created paper by chewing plant fibers into a paste. This image is poetically likened to the natural process of a wasp building its nest, emphasizing the organic and humble beginnings of what would become a cornerstone of human civilization.

Goldbarth then transports us to 1954, portraying a personal and serene scene of his grandparents. His napping Grandpa Louie is beneath the outstretched wings of the Yiddish-language *Daily Forward*, a newspaper that rises and falls with his breath, symbolizing continuity and cultural preservation. In the kitchen, Grandma Rosie prepares garlic, an "earth's most striking present," connecting daily life with the broader cycles of nature and sustenance.

However, this domestic tranquility is abruptly contrasted with the horrors of the Holocaust and the widespread destruction of human lives and cultural artifacts. Goldbarth vividly recounts how ancient manuscripts were used as mummy wrappings and how mummies were later burned as train fuel in the 19th century. This historical anecdote serves as a grim metaphor for the cyclical nature of creation and destruction. The poem reminds us that the same trains that carried away Goldbarth's grandparents' relatives to extermination camps now stand as overgrown ruins in the Central American jungle, consumed by nature, illustrating the relentless march of time and decay.

The poet then laments the loss of entire villages, records, and histories to ash and smoke, highlighting how human actions have accelerated the natural process of entropy. The reference to a single pregnant termite destroying entire archives emphasizes the fragility and impermanence of our attempts to preserve knowledge and culture. Goldbarth’s mention of the rapid consumption of paper by termites in Spanish America, as noted by Von Humboldt, underscores the precariousness of historical preservation.

In this rich, layered poem, Goldbarth weaves together personal memory, historical events, and natural processes to explore the dual forces of creation and destruction. He underscores the transient nature of human achievements and the ever-present threat of loss, whether through natural decay or human actions. The poem ultimately invites reflection on the delicate balance between preserving the past and confronting the inevitable forces that erode it.

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