Friday, May 1, 2015

The Day Laborer


Fraying at the brim,
A hat with holes
Darkens his face,
Folded and lined.
Beneath long sleeves,
Torn and shabby,
A dirty cotton layer
Shields his arms,
Dusky branches, wizened.
Swinging a pickaxe,
He hacks the ground,
Digging out dirt and rocks
To pay the debts
Of an elephant,
Animal he resembles
As it clambers out of water,
Dripping, shiny, wrinkled.
Filmy, perspiring,
Resting on the long handle
End of his standing tool,
He is almost motionless,
Inert gob of smoldering
Lava in deep time,
Blackened, steaming.
He sighs, heaving for
Ages and ages to come.
Untying his kerchief,
He mops his brow,
Tilts his head upward,
Blinks, fluttering eyelids,
Tremulous insects…
Sees nothing
But the sun.

Originally published in Turk’s Head Review (December 29, 2014)

In Peaceful Fields (1950) by Andrei Milnikov

1 comment:


    Socialist Realism was also the officially sponsored Marxist aesthetic in the visual arts, which fulfilled the same propagandistic and ideological functions as did literature. Socialist Realist paintings and sculptures used naturalistic idealization to portray workers and farmers as dauntless, purposeful, well-muscled, and youthful. Socialist Realism remained the official aesthetic of the Soviet Union (and of its eastern European satellites) until the late 20th century, at which time the changes in Soviet society initiated by the Soviet leader Mikhail Gorbachev led to abandonment of the aesthetic.