Classic and Contemporary Poetry: Explained

"Postcards from Soviet Cities: Moscow" by John Updike paints a vivid portrait of Moscow, capturing the city's iconic imagery, historical weight, and the somber ambiance of its touristic sites. Updike's poem is imbued with a sense of grandeur and melancholy, reflecting the deep cultural and historical complexities of the Soviet capital.

The poem opens with the striking image of "Gold onions rooted in the sky," a clear reference to the famous onion domes of Russian Orthodox architecture, such as those seen on St. Basil's Cathedral. This metaphor beautifully reverses the natural order, suggesting that these domes are both a growth reaching up to the divine and simultaneously anchoring the heavens to the earth. The domes "grow downward" into the city, symbolically infusing it with their sanctity and historical depth.

The description transitions from these celestial heights to the "sullen, damp Museums" below, where "Siberian tourists dumbly tramp." Here, Updike highlights the contrast between the lofty beauty of Moscow's skyline and the mundane, almost oppressive atmosphere of its museums. The tourists, characterized by their "leaden eye," represent the weary souls from distant, harsh landscapes of Siberia, perhaps unimpressed or overwhelmed by the gravity of the history they walk through.

The poem then widens its lens to the streets of Moscow, described as "wide as silences." This powerful simile evokes a sense of vast, empty spaces that are filled with unspoken histories, mirroring the expansive yet secretive nature of the Soviet regime itself. The echo between the GUM (the state department store) and the Kremlin suggests a deep, hidden chasm within the nation’s heart, "sealed within a giant room," perhaps alluding to the secretive, enclosed nature of Soviet politics.

The "marble box where Lenin sleeps" introduces a solemn, almost reverential tone as Updike describes Lenin's mausoleum. The "Tartar gaze" of the visitors, coming from the far reaches of Russia's extensive territories, underscores the diverse ethnic tapestry of the Soviet Union, all converging in this central site of communist pilgrimage. These lines evoke a sense of timelessness and the enduring influence of Lenin's legacy on the people, even as it hints at the oppressive weight ("deadening snows") of this legacy on Russian counsels and policies.

St. Basil's Cathedral is brought back into focus towards the end of the poem, noted for its "swirlings that so charmed the Czar." This reference to the legend that the czar had the architects blinded to prevent them from replicating such beauty elsewhere highlights the cruel measures often taken to maintain uniqueness and control in Russian history. It's a stark reminder of the beauty and brutality intertwined in Moscow’s—and Russia’s—historical narrative.

Overall, "Postcards from Soviet Cities: Moscow" is a contemplative and richly descriptive poem that captures the essence of Moscow through its iconic landmarks and the emotional responses they evoke. Updike’s use of evocative imagery and poignant contrasts paints a complex picture of a city steeped in beauty, history, and melancholy, reflecting the grandeur and the oppressive atmosphere of Soviet-era Moscow.

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