Classic and Contemporary Poetry: Explained

In this excerpt, Sonia Sanchez explores themes of aging, redemption, and the reckoning with one's past. The speaker [father], reflecting on a lifetime of experiences, confronts the complexities of their legacy and the desire for reconciliation and closure.

The poem opens with the line, "now my seventy-eight years urge me on your land," which suggests a journey or confrontation influenced by the speaker's long life. The phrase "seventy-eight years" underscores the passage of time and the accumulation of experiences, indicating a stage of reflection and perhaps a need to address unresolved issues. The term "your land" could imply a physical place or a metaphorical space representing the consequences of the speaker's actions or the lives they have affected.

The following line, "now my predator legs prey, broadcast," introduces a powerful metaphor. The speaker refers to their legs as "predator legs," which may indicate past actions characterized by aggression or dominance. The word "prey" suggests a shift in perspective, acknowledging the impact of these actions on others. The inclusion of "broadcast" implies that these actions or their consequences are publicly known or have been widely experienced.

The phrase "no new nightmares no longer birdman of cornerstone comes" suggests a relinquishment of old roles or personas. The "birdman of cornerstone" might refer to a figure who once loomed large, perhaps as a menacing or controlling presence. The speaker indicates that these "new nightmares" will no longer be perpetuated, hinting at a change in behavior or an end to past misdeeds.

The speaker expresses a desire to "collapse the past," indicating a wish to confront and perhaps dismantle the legacy of their actions. This is reinforced by the image of "bonfires burn[ing] up your orphan's mask." The "orphan's mask" symbolizes a facade or a burden carried by those affected by the speaker's actions, possibly children or younger generations left to deal with the aftermath. The bonfires represent a purging or cleansing, a symbolic destruction of these burdens and false identities.

The speaker then mentions "sing[ing] a dirge of lost black southern manhood." A dirge is a mournful song or lament, often for the dead, suggesting a mourning for a lost or unfulfilled potential. The "lost black southern manhood" refers to the specific cultural and historical context of Black men in the American South, who have faced systemic oppression and societal expectations. The speaker seems to lament the loss of authentic manhood, perhaps due to societal pressures or personal failings.

The final line, "this harlem man begging pardon, secreting old," provides a poignant image of humility and the passage of time. The speaker, identifying as a "Harlem man," acknowledges their place within a broader community and history. "Begging pardon" suggests a plea for forgiveness or understanding, a recognition of past wrongs. The phrase "secreting old" conveys a sense of wisdom or experience that comes with age, as well as the act of releasing or revealing long-held truths or regrets.

Overall, this excerpt captures the speaker's journey of self-reflection and the desire for reconciliation. It speaks to the complexities of aging, the acknowledgment of past actions, and the hope for redemption. Through vivid metaphors and introspective language, Sanchez delves into the personal and communal aspects of legacy, urging a reckoning with the past and a move towards healing and understanding.

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