At the center of McGrath’s poem is the idea of direction and its loss, or illusion and disillusion. This is a well-worn theme. In the work of writers from every part of the globe, there appears in imaginative writing some notion of the Fall, a loss of original innocence and faith, and the subsequent troubles of mortality and incapacity.
The first illusion for McGrath is the American Dream—Hollywood-style heroes with their white hats and horses—but this is soon replaced by a young man’s Communist ideals. In the Marxist view, direction is all-important because it is predetermined. The world is on an inevitable course toward a workers’ utopia, free of class struggle. Yet in stanza 4, the speaker’s faith in absolute direction, absolute ideals of any kind, is eroding: “Did they too wake at night . . ./ And wonder when direction would be clear if ever?” At the far end of both the American and the Marxist dream is loss of moral certainty and purpose.
Interestingly, “The Heroes of Childhood” ends with a reaffirmed faith in a new type of direction through what McGrath calls “the heart.” This is not the heart of any particular person, group, or view, but is the heart, and so is perhaps intended as some essential self, a romantic source or spring. It might be the imagination as well, casting forward its shapes and building its own spontaneous paths, independent of worldly change and ideologies. “The heart must build its...
(The entire section is 431 words.)