Classic and Contemporary Poetry: Explained

"Politics" by William Meredith delves into the intersections of personal desires, political aspirations, and societal decay. Set against the backdrop of a political gathering, the poem captures the atmosphere of disillusionment and longing within a circle of old liberals as they engage in a moment of cultural and ideological reflection. Meredith’s vivid descriptions and sharp insights reveal the complexities of the human condition, particularly in the context of aging, unfulfilled ambitions, and the inevitable decline of ideals and structures.

The poem opens with a scene where "Hazard’s father and stepmother are having / jazz for McGovern." This immediately situates the reader in a specific time period, likely during the 1972 U.S. presidential campaign when George McGovern was the Democratic candidate. The choice of jazz music, a genre known for its improvisation and expression, sets a tone of cultural sophistication and perhaps nostalgia. The "old liberals" present at the gathering are described as listening to the quintet, which "builds / crazy houses out of skin and brass, crumbling / the house of decorum, everybody likes that." This imagery suggests a breaking down of formalities and a yearning for something new or revolutionary, as the music metaphorically challenges established norms.

Meredith then reflects on the political disillusionment of these attendees: "For decades they have paid for the refurbishing / of America and they have not got their money’s worth." This line conveys a deep sense of frustration and disappointment with the political process and the outcomes of their long-held liberal ideals. The shift to "hard rock for McGovern" symbolizes a desire for a more forceful, perhaps radical change, contrasting with the more mellow and reflective nature of jazz.

The setting is further described with a focus on the physical decay of the space: "The ceiling in this palace needs fixing, / the chalky blue paint is like an old heaven / but there are holes and flaking." This description serves as a metaphor for the deteriorating state of both the physical environment and the ideals it once represented. The reference to movies being shown "when grandpa was solvent" evokes a bygone era of prosperity and stability, now replaced by decline and disrepair.

The poem then shifts to a more personal narrative, focusing on Hazard's inner turmoil. He experiences a sudden, irrational desire for his wife, reminiscent of a "irrational lust" described as similar to those experienced by "people / on the trains to the death camps." This stark comparison draws a disturbing parallel, suggesting a desperate, almost primal urge amidst an otherwise genteel setting. Hazard's desire is juxtaposed with his ambition, as he "would like to be president." This conflation of personal and political desire underscores a broader theme of unfulfilled ambitions and the complex motivations that drive people.

Hazard's sense of disconnection is further emphasized by his neglect of his artistic work: "He has not been to his studio / in four days." His request for "more gin" from a "college boy with a ponytail" hints at his attempts to escape or numb his dissatisfaction. The mention of the overgrown "forsythia and lilac" and the "rich / smell of wood-rot" adds to the imagery of neglect and decay. These details, along with the reflection on "what twenty years will do / to untended shrubbery and America and Hazard," poignantly capture the passage of time and the consequences of inattention and complacency.

"Politics" by William Meredith is a poignant exploration of the intersections between the personal and the political, framed within the context of aging and decline. The poem's rich imagery and candid reflections expose the complexities and disappointments faced by individuals and societies alike. It portrays a group of people who, despite their past efforts and ideals, find themselves grappling with the realities of a world that has not lived up to their hopes. The narrative's shift from the public sphere of political engagement to the intimate, private desires of Hazard highlights the multifaceted nature of human experience, where public disillusionment and personal longing coexist in a complex, often unsettling harmony.

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