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    Super Bowl Fans Tackle Poetry

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    On January 20, a star was born in Washington, DC, during the inauguration of the 46th president of the United States — a 78-year-old white man taking over from a 74-year-old sore loser. Before the swearing-in, an unknown 22-year-old black female strode up to the podium. She embodied the Democratic Party’s commitment to identity politics. With her expressive voice, she recited a rap-influenced poem celebrating the new dawn that would emerge after the nation’s weathering of hurricane Donald. (“Dawn” and “weathered” followed by “belly of the beast” and the metaphor of wading a sea were among the stale images that appeared in the early lines of the poem).

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    The art of poetry, long neglected in US culture, has now emerged from the shadows of cultural neglect. On February 7, it reached a pinnacle as the same young poet was invited to occupy the nation’s most prestigious stage and bask in the bright, intense spotlight of the Super Bowl. After starring in President Joe Biden’s inauguration, Amanda Gorman has become the new face and the fluid voice of a newly hopeful America, a nation run by aging white men who demonstrate their youthful spirit by promoting diverse young talents charged with renewing the veneer of political hyperreality.

    The Super Bowl halftime show featured a video clip of Gorman performing her poem, “Chorus of the Captains.” Her recital was accompanied by the kind of dramatic orchestral score typical of patriotic political ads. Its emotional crescendo rose to a climax as Gorman spoke these lines:

    “Let us walk with these warriors,
    Charge on with these champions,
    And carry forth the call of our captains!
    We celebrate them by acting with courage and compassion,
    By doing what is right and just.”

    Today’s Daily Devil’s Dictionary definition:

    Charge on:

    Move forward with speed and physical force, even if it means crushing anything that stands in the way, one of the primary virtues taught to all Americans, encouraged to act quickly and never worry about the consequences

    Contextual Note

    What could be more appropriate than the verb “charge on” for a poem celebrating a sport with a reputation for addling the brains of its players? Americans have largely positive associations with the idea of charging, whether the object charged is the enemy lines or a commodity being purchased. Americans are happy when their iPhones are fully charged and their cars supercharged. On the other hand, being charged with a crime evokes negative associations, unless it’s spectacular enough a crime to propel the subject from obscurity to fame. For many Americans, anything that makes people famous must be good.                                                                                                                                   

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    The heroes Gorman names are warriors, champions and captains. They have the perfect American profile: assertive and aggressive but kind. They radiate the authority that incites their followers to “carry forth” their “call.” Gorman may have been thinking of former President Donald Trump, whose troops carried forth his call as far as the Senate chambers in January. Gorman recognizes what makes Americans resonate, especially those convinced that what they are doing “is right and just.”

    The acts ascribed to Gorman’s heroes convey a spirit of charity, generosity and solidarity. The first is a former Marine who, in all probability, unthinkingly followed the dictates of his government to engage in mortal combat with people he knew nothing about, but, having survived, responded to the needs of his community by “livestreaming football for family and fans.” Super Bowl spectators will be sensitive to the value of this gesture. Like any good entertainer, Gorman clearly understands the profile of her audience.

    The second hero is a teacher who does things that help students “succeed in life and in schools.” Nothing is more American than success. It’s a competitive world and everyone is called upon by their captains to pursue success, even though only a few will attain it, and fewer still by the age of 22. Fortunately, it’s a humiliation most Americans courageously learn to live with.

    Then Gorman introduces the nurse, whose self-abnegation proves that “even in tragedy, hope is possible.” Actually, speaking as a literary critic, it isn’t. In tragedy, hopes are introduced only to be dashed. Characters in great tragedies who express the conviction that “hope is possible” will be disappointed, unless, as in Macbeth, their hope is that the guilty king will die in the final act. Aristotle taught us that the poignant poetry we associate with tragedy inspires pity and fear, not hope. 

    Perhaps Gorman thinks the American tragedy is different, as in the Arnold Schwarzenegger movie “Last Action Hero,” where the film’s hero, a child, hopes that Hamlet will kill his cruel uncle, inherit the throne, remove everything that’s rotten in the state of Denmark (“drain the swamp” as Trump would put it), and stabilize the country for decades to come. That is a “consummation devoutly to be wished,” far better than Hamlet’s submission to the “special providence” he sees “in the fall of a sparrow.” And it avoids having to accept the idea that “the rest is silence.”

    Historical Note

    Apart from rare examples of epic poetry, from Homer and Virgil to Milton, in which mature poets with powerful voices and incredible stamina produced monumental literary productions for the glory of their nations, poetry has always been a poor man’s art. Even great poets never sought to make a living from poetry. The immensely influential Arthur Rimbaud wrote all his poetry before the age of 20 and then went off to traffic arms in the desert.

    For most great poets, writing and eventually publishing poetry required a serious loyalty to the tradition and a radical sense of self-effacement. Poetry is the one literary discipline whose only expected reward was a handful of motivated and respectful readers, one or two of which might be suitably rich, patrons inclined to encourage the poet’s production. “Professional poets, who write beautiful and rhythmic words for a living, almost always have day jobs that pay the bills,” according to Bangladeshi poet Zubair Ahmed. Successful poets, he tells us, “are writing in defiance of market forces, driven by the love of their craft.”

    Embed from Getty Images

    American culture has rarely honored its poets. Walt Whitman was a journalist who made a splash with his poetry by creating verse recognizable as coming from the national voice, distinguishing American poetry from the British tradition. Robert Frost, the closest thing to a professional poet, made his mark as a New England voice. Carl Sandberg was a Chicago poet and Langston Hughes a black Harlem bard. These examples highlight the importance of branding for success or celebrity in the US. T.S. Eliot, arguably the most influential and respected of American poets, chose a more purely aesthetic path and ended up as a British poet, having changed his nationality and found his place in a more broadly European tradition.

    Most recognized poets earned their reputations slowly and most often painfully. Amanda Gorman is the product of contemporary celebrity culture, where the talented have no time to waste in their quest to impose their brand. This is the world of “American Idol” and “America’s Got Talent” in which budding young talents, strong on well-honed technique, a sense of personal image and the ability to duplicate stylistic features associated with commercially successful standards of quality, compete to be applauded by seasoned professionals. With the right amount of luck, some become immediate cultural commodities.

    Gorman may be the first to do it with poetry. Frost was an old man when John F. Kennedy invited him to his presidential inauguration in 1961. Maya Angelou was nearly 65 when Bill Clinton followed Kennedy’s example and invited a poet to his inauguration. Democrats now feel impelled to invite a poet to boost their image as aesthetes, something no Republican president has bothered to do. 

    Gorman demonstrated her personal self-belief and her commercial acumen by getting a spot at the Super Bowl. She did it in the way any celebrity would do. Jack Coyle, in an article for Associated Press, explains: “Shortly after the inauguration, she signed with IMG Models, an agency that represents supermodels, tennis star Naomi Osaka and playwright Jeremy O. Harris. This week, she covers Time Magazine, in an interview conducted by Michelle Obama.” As a young practitioner of letters, Gorman may have noticed that the initials of “poetry reading” are PR. 

    *[In the age of Oscar Wilde and Mark Twain, another American wit, the journalist Ambrose Bierce, produced a series of satirical definitions of commonly used terms, throwing light on their hidden meanings in real discourse. Bierce eventually collected and published them as a book, The Devil’s Dictionary, in 1911. We have shamelessly appropriated his title in the interest of continuing his wholesome pedagogical effort to enlighten generations of readers of the news. Read more of The Daily Devil’s Dictionary on Fair Observer.]

    The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      Joe Biden’s Inaugural History Lessons

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      In his inaugural address, President Joe Biden endlessly insisted on the idea of “unity.” He repeated the word nine times. In the various media’s account of the event, commentators endlessly repeated a different word, one that Biden himself cited when he said: “This is our historic moment of crisis and challenge, and unity is the path forward.”

      Today’s Daily Devil’s Dictionary definition:

      Historic:

      1. An adjective that calls attention to the special status or original character of an event witnessed by the media, signifying that the event may remain in the public’s memory at some later point in history, thanks principally to the media’s insistence that the unfolding event is far more important than it may appear to any serious historian.

      2. Predictably hyperreal.
      Contextual Note

      US presidential inaugurations are predictable events. They happen every four years. Except in the case of a sitting president’s reelection to a second term, they mark a transition between two different personalities and two contrasting administrations. That fact alone will always have some minor historical significance. But the event itself is choreographed to follow essentially the same formal scenario from one administration to the next. Apart from this year’s social distancing, a reduced crowd and the wearing of masks, nothing in the event itself justifies calling Biden’s inauguration ceremony historic.

      Biden’s inauguration program contained some of the unique features required by the glitz and glamor of today’s hyperreality. Lady Gaga sang the national anthem and Jennifer Lopez offered some complimentary patriotic entertainment. There was a rap-influenced poem recited by a young female black poet, Amanda Gorman, the first-ever national youth poet laureate. But nothing about its staging or content was original or unpredictable enough to merit the epithet historic. So why did all media commentators lose themselves in using that word to describe it?

      Embed from Getty Images

      They did have one good reason, though most reporters opted to spend more time on the first-ever enthronement of a female vice president, Kamala Harris. Though an unexciting politician as her performance in the Democratic primaries revealed, Harris offers two rare attributes besides being a woman. Their combined effect adds to the sense of this being a unique moment in history. She is the daughter of two foreigners, one black (her Jamaican father) and the other Asian (her Indian mother, and Tamil, to boot). 

      Oddly, no commentators seem aware of a true historical curiosity: that of the two individuals of African heritage to have risen to the presidential or vice presidential position — Barack Obama and Harris — neither are descendants of the American slaves who constitute the core of African American ethnicity. That means, from a historical point of view, there is still a gap to be filled.

      The real reason Biden’s inauguration could be called historic was the absence of his predecessor, Donald Trump. But even that was not only predicted — by Trump himself — but also predictable, given his narcissism. The 45th president’s absence had no effect on the protocol of the event. It did, however, affect, at least unconsciously, everyone’s perception of the moment. For the first time in five and a half years, Americans had to face the odd fact that Donald Trump was no longer at the core of the news cycle.

      For 22 minutes, Biden proceeded to produce a thoroughly unhistoric speech, rife with timeless clichés rather than the timely observations one might expect from a historic moment. Biden has always preferred pompous banalités and self-plagiarism to original thought. He predictably recycled his litany of crowd-pleasing but meaningless rhetorical formulas, already devoid of sense but even more so when repeated for the thousandth time. 

      As expected, there was the eternal (and historically false): “We have never, ever, ever failed in America when we have acted together.” At least he made it slightly more compact than on all the previous occasions. He drew applause with his stale chiasmus, “We will lead not merely by the example of our power but by the power of our example,” without realizing that a witty rhetorical figure loses its quality of wit when parroted over and over again. Inauguration audiences are trained to be solemnly polite. So, predictably, applause replaced the groans that Biden’s oft-repeated trope deserved.

      The absence of a sense of true historical significance failed to deter the commentators. “A historic moment, but also a surreal one,” wrote Peter Baker in The New York Times, noting that unlike other inaugurations it “served to illustrate America’s troubles.” He seems to have forgotten a notable and recent precedent: the inauguration of Donald J. Trump, who famously evoked “American carnage” at the core of his inaugural address. 

      Trump’s speech four years ago was authentically surreal, as was so much that Trump thought, did or tweeted in the following four years. Trump himself, beyond his surreal acts, was the epitome of hyperreality, in the sense that he existed as a parody of the “normal” hyperreality of US politics. He permanently drew his audience’s attention to a political system built like a movie set façade and acted out following the rules of a scripted pro wrestling melodrama. Trump’s premature departure from Washington, DC, was exceptional, if not historic. But is there any justifiable reason to believe that Biden’s plodding return to normal hyperreality can be called “historic”?

      Historical Note

      Inaugurations are, by definition, theatrical exercises. As transitional moments, they mark a date in history, but that doesn’t make them historical. The one inauguration that still makes that claim —because it has remained in the collective memory — was John Fitzgerald Kennedy’s performance in 1961. That was poised to be historic because Kennedy was the youngest president ever elected and the first to break what should be called the WASP barrier. As a Roman Catholic of Irish descent, Kennedy was the first who didn’t fit the obligatory presidential mold of being white, Anglo-Saxon and Protestant.

      But what people associate with that January 1961 event is the memorable line from Kennedy’s address: “Ask not what your country can do for you — ask what you can do for your country.” In contrast with Biden, Kennedy had never used that line before. It took people by surprise. First there was the syntax. It possessed Miltonic solemnity by eschewing the now obligatory “do” that structures negative commands in English. People normally say, “don’t ask” rather than “ask not.” 

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      Kennedy made the injunction sound like a divine commandment. In reality, it was as empty of meaning as any of Biden’s formulas. Americans don’t need a president to tell them whom to ask and not to ask. There is no shame in asking your country to do something, even if it never gets done. Get the wealthy to pay their share of taxes, for example. They might even ask the country not to do something, such as launch a nuclear showdown over the presence of Russian missiles in Cuba or wage a war in Vietnam. And many people do spontaneously ask what they can do for their country, though their request is usually accompanied by the demand for some form of payment. Both Kennedy and Biden responded to the public’s expectations in an inaugural address of rhetoric that “elevates the spirit” and encourages feelings of generosity and solidarity. Because it is such a standard feature of inaugural addresses, the presence of such sentiments can hardly be considered historic. On the other hand, Trump’s “American carnage” was historic, simply because nobody expected it.

      CNN desperately sought an original thought in Biden’s speech, something to relate to the “historic” nature of the event. Chris Cillizza wrote: “About halfway through his inauguration speech, President Joe Biden said something very important about the work of Washington — and how he envisions his presidency.” What did he find? Unlike Kennedy’s positive incitement to action, he selected Biden’s negative admonition: “Politics doesn’t have to be a raging fire destroying everything in its path. Every disagreement doesn’t have to be a cause for total war.”

      That’s where the US finds itself today. It lives with the hope that disagreement will not produce war. And yet, a culture war has been raging for decades, inflamed by the media. For the first time in a century and a half, there is a sense that a messy civil war may break out. That truly is historic.

      *[Correction: An earlier version of this article mistakenly referred to Amanda Gorman as national poet laureate.]

      *[In the age of Oscar Wilde and Mark Twain, another American wit, the journalist Ambrose Bierce, produced a series of satirical definitions of commonly used terms, throwing light on their hidden meanings in real discourse. Bierce eventually collected and published them as a book, The Devil’s Dictionary, in 1911. We have shamelessly appropriated his title in the interest of continuing his wholesome pedagogical effort to enlighten generations of readers of the news. Read more of The Daily Devil’s Dictionary on Fair Observer.]

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      in World Politics

      Donald Trump Proves That It’s the System, Stupid

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      “It’s the economy, stupid,” a catchphrase coined in the 1990s by American political strategist James Carville, made George H. W. Bush — who won the First Gulf War for Americans — a one-term president, catapulting Bill Clinton into the White House. As Donald Trump’s one-term presidency winds down with an attempted insurrection, widespread social media …
      Continue Reading “Donald Trump Proves That It’s the System, Stupid”
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      What If America Doesn’t Recover From Trump?

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      With two-thirds of Republicans still believing that President Joe Biden’s election was fraudulent, the Republican Party faces what could prove to be an existential fork in the road. Does it double down on Trump and Trumpism at this juncture or does it reject his divisive legacy root and branch much the same way that McCarthyism …
      Continue Reading “What If America Doesn’t Recover From Trump?”
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