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There Are No Names For Red [I – III] by Chris Abani
(From a sequence of 30 poems titled of the same title written in meditation and response to 30 paintings by African-American novelist and painter Percival Everett)
I
The way desire is a body eroding
into a pile of salt marked by a crown of birds:
and black. This fall is not rain, grain too subtle
for that dissolution. A constellation wrapped
in a stitch spreading like sand charting
thread across time a tender weave
and hope. This is resurrection.
II
And the sky is red
And the moon
And light is this rain.
This is all the terror we can bear:
the moment between flame
and where shadow begins
but only so much as can be cupped
in a child’s palm
and yet to say: the loved one
has slipped to ghost.
III
What attempts survival here has no words
but hunger. A white backcloth that devours
the blackening. Then red cut in lines thick
as paste and obscuring the once figurative.
This desire wears cerements of yellow and sun.
And at the edge of this world, a box of wood
and canvas; light and light and light.
General Introduction
Chris Abani’s poem "There Are No Names For Red [I – III]" is a contemplative work inspired by the paintings of Percival Everett. This poem is part of a sequence of 30 poems that respond to Everett’s art. Abani, known for his evocative and profound exploration of themes like identity, loss, and desire, uses rich imagery and metaphor to delve into complex human emotions and experiences.
Title
The title "There Are No Names For Red" suggests an exploration of the ineffable, those aspects of human experience that defy simple categorization or description. The color red often symbolizes intense emotions such as love, passion, anger, and danger, indicating that the poem might explore these themes in a nuanced and multifaceted way.
Themes
1. Desire and Erosion
- "The way desire is a body eroding into a pile of salt marked by a crown of birds: and black."
- Abani portrays desire as something that can erode a person, reducing them to a mere remnant of their former self. This suggests that intense longing can be both transformative and destructive.
2. Resurrection and Hope
- "A constellation wrapped in a stitch spreading like sand charting thread across time a tender weave and hope. This is resurrection."
- The imagery of resurrection and hope suggests a cyclical nature of life and renewal. Despite the erosion caused by desire, there is a possibility of rebirth and new beginnings.
3. Terror and Loss
- "This is all the terror we can bear: the moment between flame and where shadow begins."
- The poem captures the profound sense of terror that can accompany loss and change. The transition from light to shadow symbolizes the uncertainty and fear inherent in such moments.
4. Survival and Hunger
- "What attempts survival here has no words but hunger. A white backcloth that devours the blackening."
- Abani touches on the primal drive for survival, equating it with hunger, a fundamental and relentless need. This theme reflects the stark reality of existence and the constant struggle to endure.
5. Light and Transformation
- "And at the edge of this world, a box of wood and canvas; light and light and light."
- Light is a recurring motif in the poem, symbolizing transformation, revelation, and the essence of life. The repetition of "light" emphasizes its significance and the potential for enlightenment and change.
Literary Devices
1. Imagery
- "The way desire is a body eroding into a pile of salt marked by a crown of birds: and black."
- Abani uses vivid imagery to create a powerful visual representation of desire’s erosive nature.
2. Metaphor
- "This fall is not rain, grain too subtle for that dissolution."
- The metaphor of rain as a subtle grain dissolution enhances the imagery of gradual erosion and decay.
3. Symbolism
- "A constellation wrapped in a stitch spreading like sand charting thread across time."
- The constellation symbolizes interconnectedness and the passage of time, suggesting a larger cosmic order.
4. Juxtaposition
- "the moment between flame and where shadow begins"
- The juxtaposition of flame and shadow highlights the tension between light and dark, knowledge and ignorance, presence and absence.
5. Repetition
- "light and light and light."
- The repetition emphasizes the pervasive presence and importance of light, suggesting an overwhelming force or an all-encompassing reality.
6. Personification
- "A white backcloth that devours the blackening."
- Personifying the backcloth as devouring the blackening intensifies the sense of a consuming, overpowering force.
Language and Mood
The language of the poem is rich and evocative, employing metaphors and vivid imagery to convey deep emotional states. The mood shifts from contemplative and melancholic to a sense of awe and revelation. Abani’s choice of words creates a layered and textured reading experience, reflecting the complexity of the themes explored.
Context
Chris Abani wrote this poem in response to the paintings of Percival Everett, which often explore themes of identity, existence, and the African-American experience. The collaboration between visual art and poetry allows for a multidimensional exploration of these themes, enriching the reader’s understanding and emotional engagement with the work.
Conclusion
"There Are No Names For Red [I – III]" by Chris Abani is a profound meditation on desire, loss, and the transformative power of light. Through its rich imagery and evocative language, the poem explores the ineffable aspects of human experience, inviting readers to contemplate the deep emotional currents that shape our lives. The collaboration with Percival Everett’s paintings adds another layer of meaning, making the poem a compelling and multifaceted work.
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