I'm Explaining a Few Things

Pablo Neruda

 You are going to ask: and where are the lilacs?
 and the poppy-petalled metaphysics?
 and the rain repeatedly spattering
 its words and drilling them full
 of apertures and birds?
 I'll tell you all the news.

 I lived in a suburb,
 a suburb of Madrid, with bells,
 and clocks, and trees.

 From there you could look out
 over Castille's dry face:
 a leather ocean.
 My house was called
 the house of flowers, because in every cranny
 geraniums burst: it was
 a good-looking house
 with its dogs and children.
 Remember, Raul?
 Eh, Rafel?         Federico, do you remember
 from under the ground
 my balconies on which
 the light of June drowned flowers in your mouth?
 Brother, my brother!
 Everything
 loud with big voices, the salt of merchandises,
 pile-ups of palpitating bread,
 the stalls of my suburb of Arguelles with its statue
 like a drained inkwell in a swirl of hake:
 oil flowed into spoons,
 a deep baying
 of feet and hands swelled in the streets,
 metres, litres, the sharp
 measure of life,
 stacked-up fish,
 the texture of roofs with a cold sun in which
 the weather vane falters,
 the fine, frenzied ivory of potatoes,
 wave on wave of tomatoes rolling down the sea.

 And one morning all that was burning,
 one morning the bonfires
 leapt out of the earth
 devouring human beings --
 and from then on fire,
 gunpowder from then on,
 and from then on blood.
 Bandits with planes and Moors,
 bandits with finger-rings and duchesses,
 bandits with black friars spattering blessings
 came through the sky to kill children
 and the blood of children ran through the streets
 without fuss, like children's blood.

 Jackals that the jackals would despise,
 stones that the dry thistle would bite on and spit out,
 vipers that the vipers would abominate!

 Face to face with you I have seen the blood
 of Spain tower like a tide
 to drown you in one wave
 of pride and knives!

 Treacherous
 generals:
 see my dead house,
 look at broken Spain :
 from every house burning metal flows
 instead of flowers,
 from every socket of Spain
 Spain emerges
 and from every dead child a rifle with eyes,
 and from every crime bullets are born
 which will one day find
 the bull's eye of your hearts.

 And you'll ask: why doesn't his poetry
 speak of dreams and leaves
 and the great volcanoes of his native land?

 Come and see the blood in the streets.
 Come and see
 The blood in the streets.
 Come and see the blood
 In the streets!

Commentary

Translated by Nathaniel Tarn.

Here’s one for all those who decry politically engaged literature as being aesthetically compromised: Pablo Neruda. For some of the most wonderful poems that combine Art and heart. He wrote some of the most burning, gorgeous lines but what powers his poetry is always his politics. Unlike Nabokov’s idea that ‘the sole purpose of art is aesthetic bliss’, he fiercely believes that poems can make new worlds. He described the first of his poetry readings at a trade union meeting as ‘the most important fact of my literary career’.

This particular poem combines generosity, fight, painfulness… and lyricism, even as it shows up the absurdity of ‘poppy-petalled metaphysics’. There’s an aggressive overabundance - the spilling over of the merchandise, building up to the rush of violent visual images, (black friars spattering blessings) and then, the unexpected, bludgeoning moments of tenderness (the house of geraniums, the children’s blood).

Neruda’s surreal, sure, but it isn’t swimmy, soft-focus surrealism. His images cohere emotionally, with the energy of his anger, all the way up to the terrible finality of ‘come out and see the blood on the streets’. The poem burns clean.

— Amulya


The Wondering Minstrels, poem #816 · 20 June 2001

Guest poem submitted by Amulya Gopalakrishnan

Fair use

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From the Wondering Minstrels mailing list, 1999–2008.

Nicholas Grundy · 25 June 2001

Hello,

Just thought I should leap to poor old V.V.N.’s defence in Amulya’s comments on “I’m Explaining a Few Things”. I think the comment Amulya’s referring to with “the sole purpose of art is aesthetic bliss” is from the afterword to Lolita, where Nabokov says “For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm.” (If this isn’t what Amulya was referring to then I apologise!).

When you look at the full quotation, I think Nabokov’s rather closer to Neruda in wanting to “make new worlds” than might at first be evident. In fact, he also said of his work that “What I would welcome at the close of a book of mine is a sensation of its world receding in the distance and stopping somewhere there suspended afar like a picture in a picture.” Granted, the kind of world he’s looking to create is different (reflective, self-conscious, deliberately enigmatic) from Neruda’s, but I think the intent is the same. In fact, given that the basic definition of art he worked from was “beauty plus pity”, he’s actually (happily!) very close to “I’m Explaining a Few Things”, which - as Amulya says - combines “violent visual images” with “bludgeoning moments of tenderness”: beauty with pity, or (not to coin a phrase) Art with heart…

Thanks,
Nick.

ReggieG814 · 13 December 2005

I know not when this poem was written, but it is a timely comparison to the situation going on in Iraq: “Come and see the blood in the streets!”

Majumder Samsuddha · 5 February 2007

Yeah… I loved this poem. Reminds me of the goings on in Africa though
- civil wars - children with gun. that line “from every dead child a rifle with eyes” is so evocative I don’t not think I shall forget it

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Gwilym Williams · 7 December 2007

Great poem. I don’t know when it was written. But it was published in 1947 in Tercera Residencia.