Cicadas bury themselves in small mouths
of the tree’s hollow, lie against the bark tongues like amulets,
though it is I who pray I might shake off this skin and be raised
from the ground again….
~ Complete poem available online at TNY
My initial impression of the poem was of rebirth, of an emergence from a life of repression and fear into a more free existence. But when I’m uncertain, which is most of the time (particularly with poetry), I go researching. And in my research I found gold.
First, cicadas. I have a vague idea of a cyclical existence, of an emergence every so often in a loud frenzy of insect celebration, but I didn’t know if that was folklore or fact. Turns out, it’s both:
Cicadas begin life as a rice-shaped egg, which the female deposits in a groove she makes in a tree limb…. Once the egg hatches the cicada begins to feed on the tree fluids…. Once the young cicada is ready, it crawls from the groove and falls to the ground where it will dig until it finds roots to feed on. Once roots are found the cicada will stay underground…. After the long 2 to 17 years, cicadas emerge from the ground as nymphs. Nymphs climb the nearest available tree, and begin to shed their nymph exoskeleton. Free of their old skin, their wings will inflate with fluid and their adult skin will harden. Once their new wings and body are ready, they can begin their brief adult life.~~ CicadaMania
This fits beautifully into the poem: the mouth and feeding imagery, a life cycle of becoming, “one life / abrades another”, the sense of rebirth even I could not miss on first reading. We all pass from the truths we believed in childhood – truths about ourselves, about the world, generated from unquestioned pronouncements of authority figures or merely from perceptions in a very limited frame of reference – into a more complex, nuanced, and fact-based truths that withstand critical examination as contradictions are encountered.
Yes, of course it’s a coming-out poem, mixing the literal coming out of the cicada from the nurturing protection of the tree to the world, and the more figurative coming out into self-acceptance and freedom to own one’s space in the world as one is, scraping off the criticisms and fears in favor of “a body built for love”. Specifically aiming towards queer metaphor, it could also be applied to any kind of emergence from a poorly-fitting set of imposed norms into a life that fully celebrates one’s existence and understanding of reality, a more nimble and authentic way to progress through the world: feeling what we feel, rather than what we’ve been told to feel.
I was surprised to see a poem from The New Yorker in Pushcart – the champion of small presses ignores the glossies – but the nomination came instead from Hofmann’s premier collection, Second Empire. Soren Stockman’s Kenyon Review analysis gave me a greater appreciation of this metamorphic theme that runs through both the collection and this individual poem:
Richie Hofmann’s debut collection, Second Empire,contains the fierce construction of a life saturated with love. Hofmann’s speaker looks closely at the world he is born into as well as at the world he would create in its place, the former existing as a battlefield whose rules have not been proclaimed widely enough and the latter being forged from a sensual and uncompromising imagination. These two worlds often appear in the same moment, line, sentence, or poem, like two opposing emotions gripped simultaneously in the mind. Over the course of the book, they move closer, tentative as new lovers. Hofmann builds a steadying cord between the eyes and what they view in both his speaker and his reader. He grants us a tightrope and we walk out of ourselves into what eventually become our lives.~~ Soren Stockman for Kenyon Review
Many of us are right now walking a tightrope of truths: loud voices, some of them supposed authority figures, are telling us, and the truth of what we experience in our own lives and know from however many years of our lives. Can there be a reverse metamorphosis, back into the childhood of uncritical acceptance of authority merely because it has power? I hope not.
I was particularly struck by Stockman’s observations about the cover image of the book: “We see finally the map on the book’s cover to be a torso, then the cords of someone’s neck, and then a mouth opening.” Yes, I had noticed, on the KR page, an intriguing image that looked somewhat like a 19th century anatomical drawing of a torso. His chronology is spot-on: then I noticed the map, then the neck, then the mouth. It’s a carefully cropped version of a work from Spanish painter Fernando Vincente’s “Atlas” series; I’ve used the uncropped version as the header art for this post.
The purists will tell you a poem must be taken on its own, that it’s a weakness of analytical and aesthetic skill if the reader can’t recognize what’s going on based purely on the text of the poem. That may be true, but some of us need some guidance to develop those skills. Sometimes my guidance comes from more experienced and knowledgeable poeticists; sometimes it comes from separating myth and reality to better understand cicadas.