Historical Context
Pinsky’s vivid examination of the symbiotic dance between public and private history, along with their tether to contemporary existence, is thoroughly chronicled. His insightful commentary on the state of his homeland—and his own life—emerges in his 1979 opus, a sprawling poem entitled An Explanation of America. Within its pages, he carves the nation into three symbolic realms as depicted by the section titles: “Its Many Fragments,” “Its Great Emptiness,” and “Its Everlasting Possibility.” Five years later, History of My Heart surfaced, capturing the essence of the late 1970s and early 1980s—an era reflecting Pinsky’s own timeline. Even then, America remained a paradoxical mosaic, a landscape marked by both profound voids and unending potential.
The 1980s in America were dominated by the towering presence of Ronald Reagan, who served as president for nearly the entire decade. He became emblematic of the nation’s swing towards conservatism after the liberal, laissez-faire attitudes of the 1960s and 70s. Reagan epitomized the steadfast values and timeworn politics championed by right-wing fundamentalists, yet his tenure was rife with contradictions that straddled both conservative and liberal factions. Some credited his acting background with enhancing his presidential performance, making him one of the era’s most beloved leaders, despite policies that economically shattered some communities. Under Reagan's supply-side economics, society witnessed an unprecedented shift of wealth from the middle class to the affluent. "The rich get richer" became a stark reality, as tax code overhauls armed the wealthy with increased financial power, while Wall Street basked in one of its most prolific bull markets. Outwardly, America appeared vigorous and flourishing, yet beneath the surface, less than 1 percent thrived, while others plummeted into poverty and despair akin to conditions in developing nations.
As the wealthy indulged in cutting-edge medical advancements like laser surgery, gene therapy, and artificial insemination, soaring healthcare costs stripped even the middle class of fundamental health benefits and retirement security. The American dream of home ownership and a comfortable existence clung by a thread during the 1980s. In truth, homelessness surged by an estimated 25 percent annually, and street-dwelling youths turned to violence and drugs in unprecedented numbers. While many staunchly defended the right to bear arms, in reality, the explosion in handgun sales, both legal and illicit, led the United States to the dubious distinction of having the world's highest incarceration rate.
The Cultural Landscape
The cultural arts in the 1980s were a battleground of fragmentation and contradiction, where boundaries blurred, and massive rifts formed between what some deemed pornography and others hailed as art—between proclaimed freedom of expression and accusations of anti-American, anti-religious transgressions. The cherished ideal of freedom in a democracy was universally revered, yet its definition remained hotly contested. Although affirmative action, gay rights, and feminism were ingrained in the cultural fabric by 1980, artists such as Cindy Sherman, Barbara Kruger, and Robert Mapplethorpe directly challenged religious and political fundamentalists through their work on the AIDS crisis, abortion, homosexuality, and critiques of male-dominated heroism. In response, conservatives mounted opposition against public arts funding, causing a tremor across museums and arts councils nationwide.
These tit-for-tat exchanges were neither born in the 1980s nor extinguished by the dawn of 1990; rather, the era of Reaganomics and vintage values provided fertile ground for their intensification. Throughout, even the staunchest conservative and the most fervent liberal would both lay claim to the title of “true American,” with equal irony and truth. Thus, Pinsky’s depiction of a fragmented land of great emptiness resonates as accurately as the boundless horizon of everlasting possibility.
Literary Style
Exploring the Art of Discursive Lyric Poetry
Consult a few dictionaries...
(This entire section contains 308 words.)
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for the termdiscursive, and you'll encounter definitions that suggest wandering, traversing numerous subjects, or shifting from one topic to another without a clear sequence. Yet, delve deeper and many dictionaries offer another layer, describing discursive communication as marked by logical analysis or the journey towards a reasoned conclusion. These interpretations both resonate with Pinsky’s “Song of Reasons.” The prevalent style of the lyric also threads through this poem, though it might only reveal itself beyond the midway point. In essence, a lyric is the embodiment of personal reflections and sentiments, which Pinsky deftly weaves in at line 15, where his focus gracefully pivots to his daughter.
"Song of Reasons" indeed spans an array of diverse topics—from the melodies of Italian music and the chronicles of French history to the narratives of Judaism, the allure of television personalities, a child deciphering the morning news, and the hustle of an urban street. At a glance, one might presume this poem meanders without purpose, and even upon reading, some might maintain that perception. However, it’s the intricate second definition of “discursive” that shapes the poem’s essence—Pinsky artfully employs analytical reasoning, interlacing eclectic themes to craft a cohesive vision. While it may wander, it does so with deliberate intent.
The evolution from apparent disarray into coherent thought is mirrored by the journey into lyrical poetry. The poem begins with an objective tone, recounting historical narratives and reflecting on the paradoxes of faith alongside observations of television and magazine figures. But at the moment Pinsky articulates, “A child has learned to read,” the poem shifts into the subjective realm, offering a window into his inner world—whether those experiences are as immediate as his daughter’s everyday life or as distant as the storied Dukes of Levis-Mirepoix.
Compare and Contrast
1980s
Francois Mitterrand's Presidency: In a momentous shift in French politics, Francois Mitterrand ascends to the presidency, making history as the first Socialist leader of the Fifth Republic. Celebrated for his charisma and vision, Mitterrand triumphs again in the 1988 elections, securing his place as France's longest-reigning president.
Today
Political Upheaval in France: The unexpected exit of Socialist figurehead Lionel Jospin in the initial presidential election round sends shockwaves through Western Europe's liberal democracies. This seismic political event galvanizes voters from diverse factions, rallying them behind "Rally for the Republic" candidate Jacques Chirac. Their united front decisively quashes the far-right challenge posed by Jean-Marie Le Pen in the consequential final round.
1980s
The Birth of MTV: A revolution in entertainment takes hold as MTV bursts onto the cable TV scene, delivering non-stop music videos with a vibrant flair. Charismatic and daring, the "video jockeys"—or "V-Jays"—captivate young audiences, becoming icons nearly as influential as the artists themselves.
Today
MTV's New Direction: Over the years, MTV shifts its focus from its musical origins to a lineup dominated by regular programming. Shows like “The Real World,” “The Osbournes,” and “Road Rules” take center stage, replacing the glitz and glam of music videos with the raw narratives of "real people."
1980s
Conflict in the Middle East: Violence erupts anew as the Palestine Liberation Organization (PLO) and Israel clash in an intense Arab-Israeli conflict. Israel's military advances into Lebanon, seizing West Beirut and driving out PLO forces.
Today
Ongoing Strife in the Middle East: The region remains engulfed in turmoil, with relentless terrorist attacks and military confrontations claiming countless Israeli and Palestinian lives. People of all faiths fervently yearn for an end to the pervasive cycle of religious and political violence worldwide.
Media Adaptations
Back in 1997, Pinsky captivated audiences with the recitation of nine exquisite poems during the "Autumn Saturday" series at the University of North Carolina at Chapel Hill. This performance became part of a digital treasure, crafted for the series Body Language: An Afternoon of the Arts, where Pinsky’s eloquence graced listeners for an entire hour.
For those yearning to revisit Pinsky’s artistry, a video recording awaits, featuring an introduction by the renowned Bill Moyers. Captured in 1999, this visual treat is presented by Public Affairs Television, Inc. Pinsky's voice also resonates on Sounds of Poetry, Vol. 2, offering another avenue to experience his poetic mastery.
Bibliography and Further Reading
Sources
Longenbach, James, “Robert Pinsky and the Language of Our Time,” in Salmagundi, No. 103, Summer 1994, pp. 157–77.
Molesworth, Charles, “Proving Irony by Compassion: The Poetry of Robert Pinsky,” in the Hollins Critic, Vol. XXI, No. 5, December 1984, pp. 1–18.
Pinsky, Robert, History of My Heart, Ecco Press, 1984.
Thomas, Harry, et al., “A Conversation with Robert Pinsky,” in TriQuarterly, Vol. 92, Winter 1994–1995, pp. 21–37.
Further Reading
Pinsky, Robert, Democracy, Culture, and the Voice of Poetry, Princeton University Press, 2002. This prose publication is a little book on a very large subject. In it, Pinsky addresses the notion that poetry is a dying art with a dwindling audience, especially in American culture. Pinsky argues that just the opposite is true—that poetry is actually a reflection of and comment on the major themes at the heart of a large democracy.
—, An Explanation of America, Princeton University Press, 1979. In this book-length poem, Pinsky examines the culture and history of the United States in an attempt to explain the nation’s good points and bad points to his daughter. His assessment is at times negative, at times positive, and always candid. In the end, Pinsky appears to be more optimistic than not.
—, The Situation of Poetry: Contemporary Poetry and Its Traditions, Princeton University Press, 1976. In these essays, Pinsky addresses differences in traditional and contemporary poetry and concludes that there are not as many as would be expected. He finds a need for presenting the human soul in a seemingly “soul-less” world in all kinds of poetry and defends his beliefs with fresh, fairly accessible prose.
Thomas, Harry, et al., “A Conversation with Robert Pinsky,” in TriQuarterly, Vol. 92, Winter 1994–1995, pp. 21–37. In this conversation with several interviewers, Pinsky comments on a variety of topics, from the art of translating poetry into English and the role of Judaism in his life to the influence of Eastern philosophies and the importance of history in his work.
