Here’s a short post presenting a short poem,performed now here as a short song. The poem is “Beehive”  from Jean Toomer.  If you meet the poem, as I did, first as a series of words on a screen, you might be drawn into it as a pretty lyric poem which leans into a poetic tactic: repetition. Three words get refrained heavily: silver, moon, and bees.

Of those, moon is the least surprising, for if one was to take all the poems ever written the moon would likely take a top spot in the category of celestial objects. Sure, the sun would give it a contest, stars indeterminate would be in the running too, but the added changeableness of the moon, and in English the longing of its doubled vowel sound, gives that word a poetic familiarity. Silver then comes along for the ride with moon, though it’s not the only color that is used to describe the moon in other poems. The final highly repeated word, bees, is more clearly a choice, not a convention.


Here’s Toomer’s poem as a chord-sheet for my musical performance.


I had fun during this year’s marathon Emily Dickinson reading typing a chat notice every time a bee appeared in a Dickinson poem, and my opportunities there were plenty — but Dickinson’s leitmotif choice can be easily explained: she had a great interest in plants and gardening, and so the busy pollinator could be like Blake or Rilke’s angels to her, an important object in her understanding of how things are signaled and accomplished. That’s how I understand Dickinson’s bee,*  but Toomer’s choice to use bees six times (not counting associated words hive, comb, buzzing, drone, and swarm) in this 80-word poem is my task today.

If one wants to think about this poem in addition to enjoying its word-music and flow of images with their surface lushness, the bee here seems a clear image for labor. Toomer published this in his book Cane, which gives his impressions of southern American agricultural labor. Toomer himself was the child of an enslaved man. The laborers in his book from the Last Decade to be Called the Twenties, are part of a feudal arrangement that barely rises to the level of Capitalism, and that scheme is enmeshed with a blunt racial caste system. Because the book is set in the past it may be easier to see the sharp edges and crushing weight of such things for some of us — however much the haze of the present day occludes our present vision. The moon is silver, the color of coinage, this work is part of an economic system, the beehive. The speaker is a drone, a worker. The bees are portrayed as agricultural workers not poets (the pollination is of a “farmyard flower” not artistic flower-show candidates.) They appear alienated to the degree they’re thinking at all, yet our poem’s bee is unable to separate themselves from the hive, the swarm.

Does that reading damage the poem for you? I can imagine it might for some. “It was a pretty poem” might be a response to the above. And of course I could be wrong — poets themselves have told me I misread their poems. I’m not an expert on Toomer, I’m merely here exploring with you.

You can hear my musical performance of Jean Toomer’s “Beehive”  with the player many will see below. Those who don’t see the player can use this backup highlighted link.


*Dickinson’s bee is most often singular from my casual memory. Toomer’s here in this poem is always plural, though the quiet quitter dreaming of lying on their back drunk with “lipping honey” seems a single drone’s desire.

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