Culture
This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art
In the midst of the world’s unrelenting horribleness, it’s important to make room for beauty. True! But also something of a truism, an idea that comes to hand a little too easily to be trusted. The proclamation that art matters — that, in difficult times, it helps — can sound like a shopworn self-care mantra.
So instead of musing on generalities, maybe we should focus our attention on a particular aesthetic experience. Instead of declaring the importance of art, we could look at a painting. Or we could read a poem.
A poem, as it happens, about looking at a painting.
Hayden did not take the act of seeing for granted. His eyesight was so poor that he described himself as “purblind”; as a child he was teased for his thick-framed glasses. Monet’s Giverny paintings, whose blurriness is sometimes ascribed to the painter’s cataracts, may have revealed to the poet not so much a new way of looking as one that he already knew.
Read in isolation, this short poem might seem to celebrate — and to exemplify — an art divorced from politics. Monet’s depiction of his garden, like the garden itself, offers a refuge from the world.
But “Selma” and “Saigon” don’t just represent headlines to be pushed aside on the way to the museum. They point toward the turmoil that preoccupied the poetry of Hayden and many of his contemporaries.
“Monet’s ‘Waterlilies’” was published in a 1970 collection called “Words in the Mourning Time.” The title poem is an anguished response to the assassinations of Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr., and to the deepening quagmire in Vietnam. Another poem in the volume is a long elegy for Malcolm X. Throughout his career (he died in 1980, at 66), Hayden returned frequently to the struggles and tragedies of Black Americans, including his own family.
Born in Detroit in 1913, Hayden, the first Black American to hold the office now known as poet laureate of the United States, was part of a generation of poets — Gwendolyn Brooks, Dudley Randall, Margaret Danner and others — who came of age between the Harlem Renaissance of the 1920s and the Black Arts movement of the ’60s.
A poet of modernist sensibilities and moderate temperament, he didn’t adopt the revolutionary rhetoric of the times, and was criticized by some of his more radical peers for the quietness of his voice and the formality of his diction.
But his contemplative style makes room for passion.
Homer’s “Odyssey” has been translated into English countless times, with versions ranging from contemporary and accessible to highly poetic. A.O. Scott, critic at large for The New York Times Book Review, breaks down three translations and explains which one might be right for you.
Among the many complaints made about the modern American novelist, the loudest, if not the most intelligent, has been the charge that he is not speaking for his country. A few seasons back an editorial in Life magazine asked grandly, “Who speaks for America today?” and was not able to conclude that our novelists, or at least our most gifted ones, did.
This opening paragraph is from an essay titled “The Fiction Writer and His Country” by a writer whose work was influenced by Catholicism, the rural South and peacocks. Who was it?
Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s challenge is all about an influential group of writers, editors and other creative types known as the Algonquin Round Table. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to related books and other information about the era if you’d like to do further reading.
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