Taking recent political events in America into account, especially the election of Donald Trump to the White House, this poem seems to me to be one whose time has finally come round again!  In 1938, as another war threatens to engulf the world, Elizabeth Bishop stops off in Key West for almost a decade on her slow, leisurely migration South.  In 1941, shortly after the tragic events of Pearl Harbour, she produced this classic poem, a poem which many claim depicts American chauvinism at its worst and a poem that was read with interest by millions of returning soldiers and marines as they undertook the challenging reintegration back into civilian life after its publication in 1946 as part of her collection North and South – a collection of quintessential Bishop poems about waking up and the sea.

It is one of her ‘long narrow poems’ (44 stanzas) and yet Colm Tóibín in his analysis of the poem states rather controversially that, ‘it is important to insist that the poem “Roosters” is about roosters’.  He goes further and insists that ‘more exactly, it is about roosters in Key West’.  This may be so but even a cursory reading, in these revisionist times, will no doubt point up the presence of many other important sub-themes which are scrutinised and analysed here by the poet, such as militarism, male/female roles, war-mongering, forgiveness, and waking up to reality.  However, her treatment of the roosters is generally subtle, though not always so, and I have to agree with Tóibín’s final assessment that, ‘she managed to write one of the great poems about power and cruelty by not doing so.’

The poem was written at a time when the navy was gearing up for a war in Europe and other far-flung theatres of war.  Key West had been chosen as a new navy base and she was at one stage, much to her annoyance, forced to rent her beloved property to navy personnel.  In other areas of Key West, property was being purchased compulsorily and some houses were being demolished.  Therefore, it is no wonder that the poem has been read as an anti-war poem and a poem condemning arbitrary authority, ‘what right have you to give / commands and tell us how to live.’

The poem opens in Key West with the town waking to a morning light which she characterises as militarised, the morning is ‘gun-metal blue dark’.  The poet and her lover, the ‘we’ of the opening stanza, are rudely awakened from their slumbers by a martial rooster. This initial call is soon echoed by others and within a short time, there is a cacophony of strident roosters calling the sleepy Key West community to face a new day.  In a letter to Marianne Moore, Bishop wrote that she wanted the opening to represent the baseness of military warfare, and had in mind, too, Picasso’s Guernica.  From the weaponized colour of dawn to the macho “first crow of the first cock,” Bishop lures us into the poem as if from sleep, from non-consciousness, and forces us to face our own new (political) reality post November 8th!!

The macho roosters, symbolic of American chauvinism, ready themselves for another day of domination, of seeing off rivals, and indulging in some megaphone diplomacy.  They are depicted as ‘stupid’, using their ‘traditional cries’ and she personifies their behaviour, ‘their protruding chests’, ‘their green-gold medals dressed’; she ridicules their efforts ‘to command and terrorise the rest’.  One of the many things that makes Bishop’s anti-war argument in “Roosters” so interesting is her rare lack of reticence to disclose the struggles of women to survive against the rhythms of male competition, rivalry, discord, the taking up of arms, and combat.   She is anything but subtle here and, in my opinion, it is one of the times when her customary reticence and use of understatement goes out the window.  This is very evident in her unflattering depiction of the roosters’ wives:

The many wives

Who lead hens’ lives

Of being courted and despised;

She uses the traditional image of the ‘tin rooster’ as weather vane on ‘our little wooden northern houses’ to introduce the concept of militarism again.  She uses military imagery to depict their battles and skirmishes.  The roosters make ‘sallies’, setting out their territory, ‘marking out maps’, and the image of a great operations centre with maps ‘like Rand McNally’s’ with ‘glass-headed pins’ and military uniforms is created with imagery like ‘oil-golds and copper greens’.  The roosters are compared to the ‘scarlet majors’ in Sassoon’s anti-war poem, ‘Base Details’, who send their “glum heroes up the line to death”.   Again they are personified, they are ‘screaming’ at the inhabitants of Key West to ‘Get up! Stop dreaming!’.  The poet refers to the idea that the Greeks used these ‘very combative’ birds for their cock fighting spectacles.

There follows more imagery of roosters fighting, flying, dying – the blood has gone to their heads, which are ‘charged with all your fighting blood’.  She disapproves of their ‘virile presence’ and their paradoxical ‘vulgar beauty’.  Bishop is playing with us here: is she not saying, ‘Whatever else we say about these roosters, they’re not chicken’!

All my adult life I have been aware of America as having a predisposition to enter conflicts all over the world.  My memories of the 60’s and 70’s are of harrowing television clips from Vietnam, Cambodia, Laos.  In recent years, especially since 2003, America has been mired in military intervention, military deployments  and full blown wars which seem to be unwinnable despite the seeming one-sided nature of the contests. Nothing, Bishop’s poem reminds us, is ever won from war.  This poem is a perfect example of her honesty and here she shows her nerve to review human nature honestly and she also  portrays a steely resistance to duplicity and coercion.

Bishop, up to this point, has looked at roosters from many different angles but now she focuses on an association between the rooster and St. Peter in the Gospel account of the denial of Jesus before his Crucifixion:

And Peter remembered the word of Jesus, which said unto him, Before the cock crow, thou shalt deny me thrice. And he went out, and wept bitterly.

In the Latin version of the Bible “gallus canit” means “the cock crowed,” and “flet Petrus” means “Peter wept.”  So this is one of the reasons why roosters are so often used ‘on basilica and barn’ to depict, not so much Peter’s denial and humanities overall frailty, but the unconditional forgiveness offered by Christ.  The climax of the poem is beautifully rendered as we witness the literally “cocky” roosters subside in the last part of the poem to become an image of peace, ‘The cocks are now almost inaudible’.   Morning has returned, with immense hope, to the world.  By poem’s end, the rooster crows and Peter weeps as the poem shifts from remorse to salvation to inescapable hope—like a re-enactment of civilisation’s transformation from militancy to humility—so that the rooster’s call is a symbol of forgiveness.

The final five stanzas take us back to the beginning – morning has broken and the master craftswoman uses beautiful slender ‘l’ sounds to depict a new dawn, a new beginning:

In the morning

A low light is floating

In the backyard and gilding

Colm Tóibín so rightly asserts that ‘In ‘Roosters’, she … managed to produce one of the great poems about the morning’.  ‘The sun climbs in’ and transforms ‘the broccoli leaf by leaf’ and ‘the tiny floating swallow’s belly’.  She uses the beautiful simile ‘like wandering lines in marble’ to depict the creeping rays of sunshine.  The only discordant note to this otherwise idyllic, hopeful ending is the ambiguous role played by the sun – it can be seen as either an ‘enemy’ or a ‘friend’.

This literary tour de force broke new ground in its attitude to, and treatment of, war and pacifism on the one hand and the sometimes fraught relations between men and women in a post-war world on the other.  If there is hope, and the poem ends with a new dawn, then Bishop is bold enough to suggest that it lies with women.  She sees a future America where hope lies in the power of women to seize a greater share in mapping out the future destiny of the nation and wrestle it away from stubborn, war-mongering men.  I said at the beginning of this piece of commentary that I thought this was a poem whose time had come again – I hope America have not lost their chance to carry out Bishop’s manifesto with the recent defeat of  a strong female candidate in the Presidential Election.  Time will tell but it adds to the cachet of this poem that it has had the power to continue to shape America from its first publication in 1941 until the present day.

 

Works Cited:

Bishop, Elizabeth. The Complete Poems, 1927 – 1979.  New York: Farrar, Strauss and Giroix, 1983

Tóibín, Colm. On Elizabeth Bishop, Princeton and Oxford: Princeton University Press, 2015. Digital

See also Reviews Rants and Rambles:  Themes and Issues in the Poetry of Elizabeth Bishop

Reviews Rants and Rambles: Commentary on Sandpiper by Elizabeth Bishop