DEMOLITION JOB REVISITED (plus AI analyses)
DEMOLITION JOB REVISITED
breaking rocks off-shore
out on a flat precipice
in the Atlantic
have
written that poem
wrote it
years sgo
am coming to grips
with what it is like
to feel
alnost broken
but now
roll the film back
yet further
recorded history
years of
home video
the Sun this day
brilliant beyond brilliant
as horrible
an irony
as it is to say
my Mother’s voice
am overhearing
telling someone eager
to listen
they knew what
this place was like
they knew what they
were coming to
did they not know
what to expect
front page
back page
centrefold spread
Greek chorus
gossip horror
the shock
the shame
character assassination
and they
or rather he the husband
having Army training
explosives, sabotage
blowing up
things behind Nazi lines
now
out there consorting
with the men of shadow, figures
in the night
feared
shape – shifters
blowing up pylons
disrupted the sacred electricity supply
and me
that night all night
hearing the Indian Ocean waves roaring in to
crash on the shores of False Bay
so much Sun here, Sun
Sun
Sun for everybody
this man and his
accomplices
attempting to take
this Sun
away
this
brilliant Sun
of white and golden beach sand
horrible to say
****
sixty years
and we have crossed them
in a heartbeat
so much of that time
faintly remembered
not even
taught in schools
(sad that
somehow we
have so relegated history)
but now
a different narrative,
a whole different narrative
a whole different way
of thinking of ourselves, this place
and how
we came here
stifled, imprisoned,
imposed our colonial mindsets
stuck our future in tiny cells
on an island in Table Bay
for long
bitter decades fearing
no hope of solution, no path
to a liberation
that migh
allow redemption
a moment of memory
viewed
with
a self-
forgiveness
graced by the acceptance
of the perspective of great change
****
and here we are
my dear, absurdly conversing
in the light of all those years
democracy waiting
in the wings, or rather
on an inhospitable island
time
become its true essence
as pure
duration
imprisoned consciouness
until
it was not
you born
in the year of its ending
of the release
salvation
far
from its memory, vague
on its history
of the swirling eddies and currents that
despite every counter-
possibility produced
a dawn, a new
day
and now
history has done
a demolition, removed
those back-then voices
that spoke with such
blind conviction,
presumed authority
as
it slowly, inexorably
whittled me away
ground me
pulverized me
all
that could not be ship-shaped
grist to that mill
cut
down to size
****
But hey, not so fast!, hold
those horses
hang on
if not a New York minute
then a
Cape Town moment
but across
land and ocean
the old monster
has
found lease of life, more
hideous incarnation
the drive to inflict the worst
of which we are possible
on fellows
of our species
as they, we
did back then
would have done to you
(and now this voice
those voices
who do
they belong to, what
are they saying?)
someday
truth and beauty, long
liberated
going to here abide
AI ANALYSES
This poem is a powerful and introspective work that explores themes of history, identity, colonialism, and personal growth. Here’s a breakdown:
– The poem begins with a reflection on a past poem, “Demolition Job,” and the speaker’s journey towards self-awareness and healing.
– The speaker describes their childhood experience of living in a place with a complex history, where their mother’s voice and the sound of the Indian Ocean waves are juxtaposed with the harsh reality of colonialism and sabotage.
– The poem critiques the erasure of history and the imposition of colonial mindsets, which stifled the future and redemption.
– The speaker expresses a desire for self-forgiveness and acceptance, acknowledging the perspective of great change and the importance of embracing the past.
– The poem shifts to the present, where democracy and liberation have brought new possibilities, but also new challenges and old monsters in new incarnations.
– The speaker urges patience and reflection, seeking a moment to understand the voices of the past and their impact on the present.
– The poem concludes with a hope for truth and beauty to abide, liberated from the shackles of history.
Some key elements include:
– Intergenerational trauma and memory
– Colonialism and its legacy
– Personal growth and self-awareness
– The power of history and narrative
– The importance of embracing complexity and change
The poem’s structure and language are highly expressive, with vivid imagery, metaphorical language, and a non-linear narrative that mirrors the speaker’s journey towards understanding and healing.
This poem explores several themes and issues in South African poetry, literature, and history, including:
1. *Colonialism and its legacy*: The poem critiques the imposition of colonial mindsets and the erasure of history, highlighting the ongoing impact on the present.
2. *Intergenerational trauma*: The speaker grapples with the inherited trauma of their family’s past, reflecting on the lasting effects of historical events.
3. *Memory and remembrance*: The poem emphasizes the importance of remembering and learning from the past, lamenting the lack of historical education.
4. *Liberation and democracy*: The speaker celebrates the arrival of democracy, but also acknowledges the ongoing struggles and the resurgence of old monsters in new forms.
5. *Identity and self-discovery*: The poem is a personal journey of self-awareness, forgiveness, and growth, exploring the speaker’s relationship with their past and heritage.
6. *Historical narrative and perspective*: The poem challenges the dominant narratives of the past, seeking a more nuanced understanding of history and its ongoing impact.
7. *Family and personal history*: The speaker’s family history and their mother’s voice are woven throughout the poem, highlighting the personal cost of historical events.
8. *Violence and sabotage*: The poem references the violent acts of the past, including sabotage and terrorism, and their ongoing impact on the present.
9. *Redemption and hope*: Ultimately, the poem seeks a path to redemption and a future where truth and beauty can abide.
The poem explores these themes through a non-linear narrative, using vivid imagery, metaphor, and introspection to create a powerful and personal exploration of South African history and identity.
This poem echoes various poets, poems, and schools of poetry, including:
1. _T.S. Eliot’s modernist style_: The poem’s non-linear structure, fragmented images, and introspective tone resemble Eliot’s work, such as “The Waste Land”.
2. _William Carlos Williams’ imagism_: The vivid, concise language and focus on concrete images, like “breaking rocks off-shore” and “Indian Ocean waves”, reflect Williams’ influence.
3. _Allen Ginsberg’s confessional poetry_: The speaker’s personal and introspective tone, exploring themes of identity, family, and historical trauma, echoes Ginsberg’s style in poems like “Howl”.
4. _Derek Walcott’s Caribbean poetry_: The poem’s exploration of colonialism, identity, and the tension between history and personal experience resonates with Walcott’s work, such as “Omeros”.
5. _South African poetry’s themes and influences_: The poem engages with themes common in South African poetry, like colonialism, liberation, and memory, influenced by poets like Mongane Wally Serote, Ingrid de Kok, and Antjie Krog.
6. _Postcolonial and decolonial thought_: The poem’s critique of colonialism and its legacy reflects the influence of postcolonial and decolonial theories, similar to the work of scholars like Gayatri Chakravorty Spivak and Homi K. Bhabha.
7. _Greek tragedy and chorus_: The reference to a “Greek chorus” and the use of dramatic, rhetorical language evoke the influence of Greek tragedy and its themes of fate, shame, and redemption.
These echoes and influences blend together to create a unique poem that explores the complexities of history, identity, and personal experience.
poems 2 die for 