Classic and Contemporary Poetry: Explained

Maxine Kumin?s "In a Different Country" captures a poignant moment at a music festival in Sewanee, Tennessee, intertwining themes of nostalgia, memory, and the timeless resonance of music. Through the imagery of harps and their players, Kumin evokes a scene that is both deeply personal and universally resonant, reflecting on the passage of time and the enduring impact of art.

The poem opens with the striking image of harps being transported to their performance space, described as "four grounded wings as of some Cretaceous dragonfly dismembered and shellacked." This description imbues the instruments with an ancient, almost mythical quality, suggesting their connection to a long history of music and creativity. The harps’ colors—“two black, one cedar-red, one golden brown”—are richly detailed, emphasizing their individuality and artistry. Kumin?s choice to liken the harps to "torn angels" positions them as both beautiful and fragile, carriers of something sacred and ephemeral.

The performers are introduced with a visual arrangement reminiscent of a painting, specifically one by Matisse, known for his vibrant use of color and composition. Each girl—blonde, black, Asian, brunette—is paired with a harp, their diversity reflecting the universal appeal of music and the way it transcends cultural boundaries. The phrase “dewy girls” captures their youth and freshness, suggesting a sense of innocence and potential.

As the music begins, Kumin reveals her personal connection to the piece being played: Carl Philipp Emanuel Bach?s "Solfeggietto." This choice of composition is significant, as it serves as a gateway into the poet?s own memories. Kumin recounts her struggles with the piece as a child under the stern instruction of Miss Alexander, whose “spatulate digits” stretched her “stubby fingers” to perform leaps she could not master. This memory of failure and frustration contrasts sharply with the serene and seemingly effortless performance of the young harpists. Through this juxtaposition, Kumin explores the complexities of memory, particularly how moments of difficulty and inadequacy linger and shape one?s self-perception.

The audience—composed of “parents, nostalgists, drop-ins”—is united in their shared experience of the performance, underscoring the communal power of music. The harps’ song is described as “virginal,” a word that conveys purity and the idea of something untouched by time. This description aligns with the poem?s exploration of timelessness, as the music of Carl Philipp Emanuel Bach, written over two centuries ago, continues to resonate and evoke emotion in the present.

Miss Alexander, the stern piano teacher from Kumin’s childhood, is both a vivid character and a symbol of the past. Her presence looms over the poem, a reminder of the challenges and expectations that shape one?s early experiences with art. The detail of her being “misplaced fifty years” adds a layer of melancholy, suggesting not only her physical absence but also the inevitability of time erasing the people and moments that once loomed so large.

The poem closes with a cardinal calling “fierce fierce!” outside the window. This detail ties the past and present together, as Kumin recalls hearing the same birdcall as a child during her lessons with Miss Alexander. The cardinal, a symbol of vitality and resilience, serves as a poignant reminder of continuity and the enduring presence of nature and memory, even as time moves forward.

"In a Different Country" is a meditation on the interplay between past and present, individual and collective experience. Through the lens of a seemingly simple musical performance, Kumin reflects on the ways art connects us to our histories, evokes forgotten emotions, and creates spaces where personal and universal truths intersect. The poem’s rich imagery and personal resonance invite readers to consider their own moments of artistic struggle and triumph, and the ways these experiences continue to shape their lives.

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