Classic and Contemporary Poetry: Explained

In "Ode to Fidel Castro," Edward Field delivers a complex, multi-layered exploration of Fidel Castro as both a historical figure and a symbol of revolution and idealism. By employing a conversational tone, political satire, and vivid imagery, Field presents a nuanced portrait of Castro, reflecting on his strengths, contradictions, and global impact.

Part I:  

Field opens the poem by invoking the Muse, asking it to guide him while writing "on World Issues." He requests that the Muse help him maintain humility and avoid the pretentiousness of "Poet’s Head," a disease where "the words ring like gongs and meaning goes out the window." This opening is a self-aware reflection on the challenges of writing about complex political topics. Field aims to convey "the human size of truth" while keeping the poem authentic and relatable.

The speaker's approach to addressing world issues is not through heroic posturing but through humility and contradiction, and he asks the Muse to keep him from abandoning the poem: "give me strength not to lay aside this poem / Like so many others in the pile by my typewriter." The first section sets up the poem as an exploration of politics, contradictions, and the human experience.

Part II:  

In the second section, Field directly addresses Fidel Castro, describing him as the "Rebellissimo and darling of the Spanish-American lower classes." Castro is portrayed as a leader with a distinctive style, who "adopted for his uniform / The work clothes of the buck private and the beard of the saints." The mention of Irene, a Cuban woman who places Castro's image between Rudolph Valentino and the Virgin Mary, illustrates his larger-than-life persona and the almost religious adoration he receives.

Field humorously imagines a Hollywood biography of Castro's life, starring "the spreading Marlon Brando" and featuring fictional romantic interests. This playful satire contrasts with Castro's actual romantic "romance ... with his people and his role."

The poem takes a personal turn as the speaker admits his own fascination with fame: "I am in love with the spotlight myself / And would like the crowds to chant my name." He acknowledges the similarities between his name and Fidel's ("the same letters as yours but rearranged"), highlighting a sense of shared identity. The poem then compares Castro to Napoleon and Tolstoy, portraying him as a poet who revises and edits his work (revolution).

Field recognizes the challenges of Castro's revolution and how it "upsetting a lot of people," especially in the U.S., where "our papers are full of stories that make him out a devil." Despite the controversies surrounding Castro, the speaker expresses solidarity with him: "My Fidel Castro, Star of Cuba."

Part III:  

In this section, Field shifts focus to Castro's stay at the Hotel Theresa in Harlem, where he was famously embraced by Soviet leader Nikita Khrushchev. The scene is described in vivid, cinematic detail: "a widescreen spectacle with supermen in totalscope embrace, and / in color yet." Field highlights the significance of Castro's presence in Harlem, a historically neglected part of New York City.

He reflects on Harlem's plight, noting that "plenty of people that great came out of Harlem / Like Jimmy Baldwin" but "you don’t catch them going back there like a Fourth of July parade." Despite Harlem's struggles, Castro's visit brings a sense of pride and international attention to the neighborhood.

Field candidly acknowledges his own discomfort visiting Harlem due to the harsh realities of poverty but celebrates Castro and Khrushchev's embrace as a symbol of solidarity.

Part IV:  

The final section begins with a headline-like phrase: "BOMBS GOING OFF ALL OVER HAVANA." The tension between Cuba and the U.S. is palpable, and Field notes how the "Cuban Tourist Office is closed" while a giant Christmas tree is being erected across Rockefeller Center. The image of the tree, despite its decorations, still "screams for the forest, like a wild animal," symbolizing the commercialization of joy and the destruction of nature.

Field anticipates the potential downfall of Castro: "By the time you see this, Fidel, you might not even exist anymore / My government is merciless and even now / The machine to destroy you is moving into action." However, he expresses his support for Castro's vision: "I wish you well, Fidel Castro / And if you do succeed in making that island / The tropic paradise God meant it to be / I’ll be the first to cheer."

Field acknowledges Castro's imperfections, but believes that "It's your spirit we love and the glamour of your style." He ends the poem with a wish that the world's cameras capture "a kiss of the poet, that will make you truly good / The way you meant to be."

Conclusion:  

"Ode to Fidel Castro" is a multifaceted exploration of Castro's legacy, blending satire, personal reflection, and political critique. Edward Field examines the complexities of Castro's revolution, while also exploring themes of identity, solidarity, and authenticity. By framing Castro as both a historical figure and a symbol of revolutionary idealism, Field provides a nuanced and thought-provoking portrait that invites readers to consider the contradictions inherent in politics and human nature.

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