Classic and Contemporary Poetry: Explained

Charles Olson’s "In Wiro Language" is a dense, mythologically rich exploration of lineage, power, and the complexities of divine relationships in classical mythology. Olson presents an intricate narrative that reimagines the stories of ancient gods, particularly focusing on the relationships between Hades, Persephone (Kore), and Demeter, as well as the broader familial tensions among the Olympian pantheon. Through this poem, Olson delves into themes of generational conflict, creation and destruction, and the interplay of power and desire, blending mythological storytelling with his characteristic speculative poetics.

The poem opens with the invocation of “Wiro language,” suggesting a cryptic or ancient tongue through which Olson will reinterpret myth. The invocation immediately frames the piece as an alternative or esoteric retelling of familiar stories. Olson’s description of the son, “dio(s)nuos,” introduces the theme of fractured identities and complex ancestries. The use of parentheses underscores the instability of divine and human categorizations, reflecting the mingling of mortal and immortal characteristics in figures born of gods and mortals. This fragmentation is mirrored in the chaotic genealogies Olson recounts, where rape, shame, and abandonment underscore the origins of these mythological figures. The focus on twins and mothers suggests a recurring motif of duality and opposition, which underpins the tension between order and chaos throughout the narrative.

Hades, the central figure of the poem, emerges as a complex and multifaceted character. Olson contrasts him sharply with his brothers, Zeus and Poseidon, emphasizing his isolation and his position as the ruler of the underworld. Unlike Zeus, whose progeny are numerous and whose power is overt, Hades is described as “a most different man,” defined by his obscurity and restraint. His lack of offspring and his singular pursuit of Kore (Persephone) position him as a figure of singular focus and desire, in contrast to Zeus’s rampant promiscuity and Poseidon’s shapeshifting guises. Olson’s Hades is not merely a god of death but a figure deeply tied to the earth and its cycles, as symbolized by his emergence from the soil to claim Kore. This connection to the earth is both literal and symbolic, tying Hades’ domain to the deeper, hidden aspects of existence.

The abduction of Kore is retold with a focus on Hades’ cunning and the inevitability of his actions. The image of the flower—“the irresistible flower he causes to grow right up in Kore?s face”—highlights the interplay between beauty and entrapment, desire and fate. Olson’s emphasis on Hades’ preparation, from the golden chariot to the pomegranate seeds that bind Kore to him, underscores his deliberate and calculated nature. Yet, this act is not portrayed purely as malevolent; rather, it is imbued with a sense of necessity and cosmic balance. Hades’ realm, often maligned as Hell, is reimagined as a counterpart to Heaven and the Sea, a vital part of the divine order.

Olson’s portrayal of Demeter’s grief and wrath at the loss of Kore brings an emotional depth to the narrative. Her lamentation “all over the earth” and her transformation into a mare to escape Poseidon’s advances illustrate the vulnerabilities and strengths of this maternal figure. Demeter’s twin children by Poseidon, themselves horses, reinforce the recurring motif of hybrid identities and the blending of divine and animalistic traits. Olson intertwines these stories with broader questions about power and legacy, suggesting that even the gods are subject to cycles of creation and destruction.

The poem also delves into the ambiguities of Persephone’s identity and role. Olson describes her as a “barren bride,” emphasizing her dual existence between the underworld and the earth. This barrenness contrasts with the mythological suggestion that Persephone may have borne a son with Hades or, as Olson speculates, with Zeus. This speculative element deepens the poem’s exploration of lineage and succession, hinting at a “lost” son who could surpass even Zeus in power. Olson’s suggestion that Pluto (a Roman name for Hades) might be both Persephone’s brother and her husband further complicates the already intricate web of relationships, adding layers of incestuous tension and ambiguity to the myth.

Structurally, the poem mirrors the fragmented and cyclical nature of its subject matter. Olson’s free verse, characterized by enjambment and a lack of punctuation, creates a sense of fluidity and chaos, echoing the tumultuous relationships and events he describes. The language is dense and allusive, requiring the reader to piece together the narrative from fragments, much like reconstructing ancient myths from incomplete sources. This fragmented style reflects Olson’s project as a poet: to reassemble the shards of history and myth into a new, coherent vision.

Thematically, the poem grapples with the nature of power and its transmission across generations. The gods’ actions—whether Zeus’ punishment of Iasion, Hades’ abduction of Kore, or Demeter’s grief—are driven by desires to create, control, and perpetuate their legacies. Yet, these acts often result in unintended consequences, such as the creation of barren or hybrid offspring, reflecting the tensions between order and chaos, fertility and barrenness. Olson’s retelling emphasizes the interconnectedness of these forces, suggesting that destruction and creation are inseparable aspects of existence.

Ultimately, "In Wiro Language" is a richly layered exploration of mythology and its implications for understanding power, identity, and the human condition. Olson’s reinterpretation of these ancient stories does not seek to resolve their contradictions but to illuminate their complexity, offering a vision of a world where gods and mortals alike are entangled in cycles of desire, loss, and renewal. Through his dense language and speculative approach, Olson invites readers to see mythology not as static stories but as living, evolving frameworks for understanding the world and our place within it.

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