Historical Context
Since Brouwer's inaugural publication graced bookshelves only two years ago, we are yet to gain a comprehensive historical lens through which to evaluate his work in the grand tapestry of its era. Nonetheless, it is not far-fetched to conjecture upon the cultural, political, and social upheavals, alongside the infamous deeds of certain individuals, that might compel a poet to lament his world as a “stagnant ditch between nothing / and nothing.” The twilight years of the twentieth century unfolded with news of extraordinary violence on American soil and the persistence of age-old conflicts worldwide. The year 1995 marked a somber chapter in Israeli history when internal strife erupted into violence, culminating in the assassination of Prime Minister Yitzhak Rabin by a disillusioned Jewish student. This act of vengeance was fueled by anger over perceived concessions in the peace process with the Arabs. Despite the promise of the Hebron Accord promoting coexistence between Arabs and Jews, renewed terrorist activities in 1997 and contentious efforts to expand settlements undermined the fragile pact. By 1999, as Israel placed its trust in its most celebrated soldier, Ehud Barak, as prime minister, hopes for peace remained elusive.
Yet the Middle East was not alone in its turmoil during the volatile late 1990s. In 1997, Rwanda descended into chaos as fierce ethnic violence between Hutus and Tutsis ravaged the nation. The following year saw the United States and Great Britain respond with air strikes against Iraq, retaliating against Saddam Hussein's refusal to grant UN inspectors access to his arsenal. Meanwhile, Russia launched a significant military campaign against Chechen rebels, the second such endeavor within a decade to quell the separatists' aspirations. The looming shadow of war and unchecked power continued to haunt this era: In 1995, France defied global outcry by conducting five underground nuclear tests in the South Pacific, while India and Pakistan's nuclear tests in 1998 alarmed the Western world.
In this decade, it was the specter of terrorism that cast the darkest pall, both abroad and within the United States. In 1996, a devastating explosion in Saudi Arabia claimed the lives of nineteen American servicemen, leaving hundreds wounded as a bomb-laden truck detonated outside a military residence. Two years later, terror struck American embassies in Africa, orchestrated by the elusive Osama bin Laden, killing 258 people and prompting U.S. air strikes against Afghanistan and Sudan. Yet, the Oklahoma City bombing of 1995 left an indelible mark on the American psyche, as Timothy McVeigh was held accountable for the deaths of 168 individuals in the most egregious act of domestic terrorism to that point. Although his execution was delayed due to investigatory oversights, McVeigh ultimately met his fate in June 2001. During the centennial celebration of the Olympic Games in Atlanta in 1996, a bomb shattered the festivities at Centennial Park, resulting in one death and over a hundred injuries, while a tip-off led to the capture of the elusive "Unabomber," Theodore Kaczynski, marking the end of his seventeen-year reign of terror.
The era's violence extended beyond political motivations to acts of chilling cruelty committed by individuals. The year 1995 saw Susan Smith of Union, South Carolina, convicted for the unfathomable drowning of her young sons, a ghastly act driven by a misguided pursuit of affection. Tragedy struck again in 1997 when thirty-nine members of the Heaven’s Gate cult ended their lives in California, believing it was their passage to a spacecraft trailing the Hale-Bopp comet. Perhaps most harrowing was the 1999 massacre at Columbine High School in Littleton, Colorado, where two teenagers unleashed a devastating attack, claiming fifteen lives and injuring twenty-three others....
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This tragedy was but one episode in a spate of school violence that shook the United States, deepening the fear, cynicism, and anger simmering within American society.
It would be remiss to portray these years solely through the prism of their tragedies, as the era also bore witness to remarkable achievements in medicine, civil rights, and global diplomacy. However, to explore the potential inspiration behind one young poet's somber vision requires an examination of the grim events that unfolded during his formative years of creativity. Given the weight of these dark narratives, it becomes understandable why Brouwer perceived his world as a "stagnant ditch," yet he still acknowledges the importance of savoring whatever life offers, even in its bleakness.
Literary Style
Direct Simplicity in "Last Request"
"Last Request" dances to the tune of free verse, eschewing ornate literary devices and poetic elements in favor of stark simplicity. Strip away its couplet line breaks and it might easily be mistaken for straightforward prose. The power of this poem lies in its unadorned language and concise, direct statements, which underscore the poem’s startling themes. Instead of cloaking the scene of a cardboard pyramid surrounded by "bored / and edgy" family members in elaborate metaphors or melodious meter, Brouwer opts for a clear, somber tone that resonates more profoundly. The speaker issues blunt, startling commands throughout the piece, culminating in a shocking final demand. Observe how lines such as "For mortar use duct tape," "Lay me in there naked," "No beer, no burgers or dancing," "You may smoke," "Be very sad," "Yawn," "Then go home," "Be glad," and ultimately, "forget me as fast as you can" wield simple language to convey chilling intent.
Vivid Imagery and Provocative Metaphor
Throughout "Last Request," Brouwer crafts vivid scenes that are starkly easy to visualize. Yet, he strategically places an enigmatic metaphor near the poem's end, painting a vivid tapestry of gloomy images. He portrays the world as "a stagnant ditch between nothing / and nothing," inviting readers to imagine a space from which the living may "sip from . . . a little longer." While this analogy drips with more poetic flair than the rest of the poem, its solitary presence magnifies its impact. After wading through a series of terse, direct commands, readers are suddenly confronted with a powerful metaphor that may evoke sadness, fear, or even anger and shame. The key is that some emotion is stirred, offering a potent and effective conclusion to the poem.
Media Adaptations
While exploring the digital landscape, one may stumble upon a collection of Joel Brouwer's poetic works. However, the elusive “Last Request” remains absent from this vast online archive. Delving into searches under Brouwer's name reveals a treasure trove of his verses scattered across various platforms, alongside insightful reviews he has penned for numerous esteemed publications.
Bibliography and Further Reading
Sources
Brouwer, Joel, Exactly What Happened, Purdue University Press, 1999.
Perillo, Lucia, Purdue University Press: Publishing the Best!, http://www.thepress.purdue.edu/New_Books_for_Spring_ 1999/Exactly_What_Happened/exactly_what_happened .html (May 10, 2001).
Sampsell, Kevin, theStranger.com, http://google.yahoo.com/ bin/query?p=joel+brouwer&hc=0&hs=0, (May 10, 2001).
Further Reading
Brouwer, Joel, This Just In, Beyond Baroque Literary Arts Center, 1998. This is a chapbook of poems published by Brouwer while he was completing his first full-length manuscript, Exactly What Happened. The chapbook may be difficult to find without ordering it from the publisher, but it would be interesting to read the precursor to the intriguing full-length collection.
McDaniel, Jeffrey, The Forgiveness Parade, Manic D Press, 1998. McDaniel is a contemporary poet to whom Joel Brouwer is sometimes compared. Like Brouwer, Mc- Daniel is noted for his witty, uncanny presentations of subject matter and bizarre humor, and this collection is a good example of that.
Prufer, Kevin, ed., The New Young American Poets: An Anthology, Southern Illinois University Press, 2000. Prufer was born in 1969 and grew up in Cleveland, Ohio, making him a close contemporary of Joel Brouwer in both time and place. This collection of young American poets does not include Brouwer’s work, but the poems presented offer a good complement to his bold style and offbeat topics. Sewell, Lisa, The Way Out: Poems, Alice James Books, 1998 This fascinating first collection by a young poet has been called both strange and beautiful, reflecting the more daring side of contemporary poetry, as does Brouwer’s. Sewell’s poems are sometimes quirky, sometimes bold, and always provocative. This collection is essentially a record of what it means to be an American living in the last years of the twentieth century.
