Classic and Contemporary Poetry: Explained

John Wieners' "Helen Go Mother Beth" presents a poignant exploration of youth, struggle, and the reconciliation of personal and societal collapse. The poem’s fragmented syntax and reflective tone invite readers to engage with the speaker's attempts to navigate existential and cultural tensions, offering glimpses into a world marked by both rebellion and resignation.

The opening lines immediately establish a dichotomy of youth and poverty: "I was young once; and on poverty / another palace revolution without currency." The juxtaposition of youthful potential with the stark reality of poverty suggests a revolutionary spirit tempered by material lack. The phrase "palace revolution" evokes grand upheaval, yet the lack of "currency" undermines the transformative potential, grounding the rebellion in a harsh, unyielding reality.

The speaker’s movement through "the field towards surrender of material possessions" implies a journey of relinquishment or sacrifice. This could reflect a countercultural ethos, where the rejection of materialism and societal norms becomes a form of liberation. However, the absence of idealism in the description hints at a deeper struggle, as if this surrender is more a necessity than a choice.

Wieners’ mention of "Not syndromatic LSD resolution" situates the poem within a specific historical and cultural moment, likely referencing the 1960s counterculture and the use of psychedelics as a means of seeking enlightenment or escape. The rejection of this "resolution" underscores the speaker’s refusal to rely on artificial means to confront life’s complexities. This decision is tied to a deeper affirmation: "I'm so glad / having made up my mind not to lie an / and a drug addict, and to die." The fragmented phrasing conveys the difficulty of this resolve, suggesting that clarity and self-preservation come at a significant emotional cost.

The speaker’s acknowledgment of "modern civilization dictated moral collapsing" reflects a broader critique of societal decay. The phrase "model constitution revelations hypocritical, apochryphal" further emphasizes this disillusionment, pointing to the failures of governance, morality, and societal ideals. The speaker's perception of hypocrisy and falsehood in these systems mirrors their internal conflict, as they navigate a world that feels fundamentally flawed.

The refrain-like line, "It's so good," offers a moment of ironic respite. In the midst of despair and disillusionment, this declaration feels tentative, as though the speaker is grasping for affirmation. It serves as a counterbalance to the heavier themes, a reminder of resilience and the possibility of finding meaning despite adversity.

The poem’s closing lines, "remain to archetypal, / see the thieves of one's past admit suicide," are both cryptic and haunting. The invocation of the archetypal suggests a return to universal or timeless truths, a stripping away of the noise of modernity to find something enduring. Meanwhile, the "thieves of one's past" could represent personal regrets, betrayals, or societal forces that have stolen something essential from the speaker. The phrase "admit suicide" is chilling, suggesting a reckoning or judgment for these forces, as though their collapse is both inevitable and necessary.

In "Helen Go Mother Beth," Wieners crafts a deeply introspective and socially critical work that resists easy interpretation. The poem oscillates between personal resolve and societal critique, capturing the tension of living authentically in a world perceived as morally and structurally broken. Its fragmented structure and rich allusions create a layered reading experience, inviting readers to delve into the complexities of identity, resistance, and survival. Through its raw honesty and evocative imagery, the poem stands as a testament to Wieners’ ability to articulate the struggles of his time while probing the universal dilemmas of the human spirit.

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