Poetry for Students

Volume 19 3

the second through sixth lines, she uses a long sen-

tence to go into more detail about the physical ef-

fects of despair on people. The poet uses the phrase

“Who doesn’t know the way it seizes,” to under-

score her belief that everybody feels despair at

some point or another. Likewise, by noting the

blood sloshing through “our” veins, she attributes

the rush of blood—the physical side effect of an

increased heart rate, one of the side effects of many

powerful emotions such as fear or despair—to the

community at large. At the same time, the poet is

careful to note that, while everybody feels despair,

there is no comfort in this fact; grief is still very

much a “personal” experience. Having defined her

belief that despair effects everybody, although in

individual ways, the poet now hooks the reader

with a very odd statement that starts in the last half

of line six and continues through until line eight.

Lines 7–11

The statement, “It’s beauty / that brings it on,

calls it out from the wings / for one more song,”

seems out of place. Bass is deliberately trying to

disorient her readers. In the previous lines, she has

introduced the idea of despair and grief, so one

might expect that the rest of the poem is going to

be a dark poem, filled with negative images. Bass

takes the exact opposite approach, however. She

says that the beauty of nature brings on her per-

sonal despair. She notes a very pastoral, natural im-

age, “Rain / pooled on a fallen oak leaf.” The

pooled rain creates a mirror, in which the poet can

see a reflection of a cloudy sky, an image that im-

plies an uncertain future. At this point, Bass still

has not explained why these beautiful images of

nature make her grieve.

Lines 12–19

Over the next few lines, Bass continues this

trend of providing a natural image, yet does not ex-

plain why this brings her pain. She talks about “the

red moon / in September,” which is so massive and

awe-inspiring that people feel compelled to stop

their cars and get out and look at it. Following this

image, at the end of line thirteen and into the next

line, Bass switches gears somewhat, with the

phrase: “like a photo / of a lover in his uniform, not

yet gone.” The reader starts to get an indication of

why natural images are bringing the poet grief. The

hypothetical photo of the soldier in uniform, and the

observation that he is “not yet gone,” implies that

someday he will be. Military service can be a dan-

gerous job, and the poet is noting that even though

the lover is alive in her hypothetical photo, he may

someday live on only in the photo. In the same way,

the poet is implying that someday natural phenom-

ena might only be as alive as the images in a photo.

Although the poet is giving some indication

that she is worried over the future life of nature,

she has not yet explained why exactly she is con-

cerned. At the beginning of line fifteen, the poet

once again turns the discussion from the global,

general images of nature, to the specific life of the

reader. She says “or your own self, as a child,” en-

couraging each reader to remember back to his or

her own childhood. The poet draws on an image

that many of her readers will identify with, a fam-

ily day on the beach. The scene she draws is one

of peace and innocence, of a child falling asleep in

the sun, without a care in the world.

Lines 20–25

At the beginning of line twenty, however, the

poet brings the reader back from this happy mem-

ory into the present. It is at this point that the poet

confronts the reader directly, “That’s when you

can’t deny it.” The poet talks about the fact that el-

ements like water and air are still in existence, and

equates these natural elements with a mother’s nur-

turing, which she expresses in simple images:

“sweeping hair off our brow, her scent / swirling

around us.” This underscores the family image that

she already used of a child at the beach. Up until

now, Bass has combined beautiful images of na-

ture with an increasing sense of doom but has not

explained why people should be concerned. In the

middle of line twenty-three, however, the poet

notes that the child, humanity, is destroying its

mother, nature. Ultimately, humanity’s pollution,

such as the kind created by automobiles, could de-

stroy Mother Nature’s ability to nurture. Bass holds

all humanity responsible, including the readers:

“But now your own / car is pumping poison, de-

livering its fair / share of destruction.” In the mid-

dle of line twenty-five, the poet begins to discuss

genetic engineering, another factor that she says is

destroying nature.

Lines 26–28

She starts by talking about a salmon that has

been genetically engineered “with the red, white,

and blue shining on one side.” The colors refer to

the colors of the American flag. Bass is noting the

fact that when countries begin genetic engineering,

they take ownership of nature and could start liter-

ally modifying natural organisms like fish to dis-

play a symbol of ownership, in this case the

American flag. While Bass feels this is bad enough,

And What If I Spoke of Despair

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