Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker's poem "Tearing the Poem Up and Eating It" serves as a poignant reflection on the complexities of justice, compassion, and the weight of memory in the face of violence and political strife. Written in memory of Yitzhak Rabin, the Israeli Prime Minister assassinated on November 4, 1995, the poem navigates through the turbulent emotions and thoughts provoked by his death and the broader implications for peace and conflict in the world.

The poem begins with a reference to Exodus 23:9, a biblical commandment that underscores the importance of empathy and understanding for the stranger, a theme that resonates throughout the poem. This commandment, which recalls the experience of the Israelites as strangers in Egypt, becomes a moral and ethical foundation against which the events described in the poem are contrasted.

The first section ("i") opens with the speaker receiving a poem as if it were a sacred or prophetic object, something "healing" or nourishing. However, the speaker quickly questions the value of a poem compared to "a biological life," suggesting a tension between the power of words and the harsh realities of the world. The rhetorical question, "Do you think the life of an insect, a worm / Is worth more than the life of a poem?" highlights the poem's exploration of the limitations of language in addressing real-world suffering and injustice.

In the second section ("ii"), Ostriker draws on the imagery of rain and the womb to describe God's justice and compassion, symbolizing the nurturing and life-giving aspects of these divine qualities. However, the speaker's attempt to reconcile this with the "bloody plaza" where Rabin was assassinated reveals a deep skepticism. The imagery of the "stone of sacrifice" and the "assassin’s rabbi" juxtaposes religious ritual and violence, questioning the role of faith in justifying or perpetuating such acts.

The third section ("iii") is marked by a sense of disillusionment and numbness as the speaker reflects on the destruction of words like "ploughshare"—a symbol of peace turned into a weapon of war. The metaphor of zeal as an "indestructable" insect and hope as a "manhole the clown falls into" illustrates the persistence of violence and the futility of optimism in such a context. The comparison of compassion and justice to "raped girls after a party" underscores the brutal reality of their violation and the victim-blaming that often follows, further emphasizing the speaker's despair.

The image of "tearing the poem up and eating it" symbolizes an act of desperation, an attempt to internalize the poem’s message or perhaps to destroy it in frustration at its impotence. However, the speaker acknowledges that this would "accomplish nothing." Instead, the speaker advocates for writing as a form of resistance, a way to "clear a path for the wind," suggesting that despite its limitations, language still holds the potential for change and renewal.

In the fourth section ("iv"), Ostriker shifts to the funeral of Yitzhak Rabin, where a blood-stained peace song becomes an "icon of this martyrdom." The irony of this image—a peace song stained with blood—captures the tragic contradictions inherent in Rabin's assassination. The speaker's observation that "you wonder at funerals why nobody bursts out laughing" reveals a profound sense of absurdity and futility in the face of such tragic loss. The reference to Rabin's granddaughter and her belief in angels carrying him to heaven adds a touch of poignancy, but also highlights the innocence and perhaps naivety of such faith in a world marred by violence.

The fifth section ("v") introduces a responsa, a traditional form of Jewish rabbinic literature that responds to legal or ethical questions. The rabbi's question to his son—"where is God?"—and the son's response—"where he is not"—serve as a meditation on the omnipresence of the divine, even in the midst of suffering and injustice. This exchange underscores the poem's exploration of theodicy, the question of how to reconcile the existence of evil with a just and omnipotent God.

Finally, in the sixth section ("vi"), the poem returns to a critique of those who believe themselves chosen by God, yet commit acts of violence and injustice in His name. The imagery of broken bones, corpses sown into the land, and the apocalyptic dreams of messiah-seekers reflects the destructive consequences of religious and ideological zealotry. The speaker's address to God—"I speak of all your countries, my dear God"—broadens the scope of the poem, implicating all nations and peoples in this cycle of violence and betrayal.

"Tearing the Poem Up and Eating It" is a powerful meditation on the intersections of faith, violence, and the struggle for peace. Through her evocative imagery and poignant reflections, Ostriker challenges the reader to confront the limitations of language, the complexities of justice, and the painful reality of human conflict. The poem serves as both an elegy for Yitzhak Rabin and a broader commentary on the enduring challenges of achieving peace and understanding in a divided world.

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