'Manhole Covers' by Karl Shapiro

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Selected PoemsThe beauty of manhole covers--what of that?
Like medals struck by a great savage khan,
Like Mayan calendar stones, unliftable, indecipherable,
Not like the old electrum, chased and scored,
Mottoed and sculptured to a turn,
But notched and whelked and pocked and smashed
With the great company names
(Gentle Bethlehem, smiling United States).
This rustproof artifact of my street,
Long after roads are melted away will lie
Sidewise in the grave of the iron-old world,
Bitten at the edges,
Strong with its cryptic American,
Its dated beauty.

Editor 1 Interpretation

Poetry Analysis: "Manhole Covers" by Karl Shapiro

Introduction

"Manhole Covers" is a poem by Karl Shapiro that explores the relationship between human beings and material objects. The poem's title refers to the circular iron covers that are found on the streets, covering manholes that lead into the underground sewer system.

The poem was first published in Shapiro's book titled "Person, Place, and Thing," which won the Pulitzer Prize for Poetry in 1945. The book and the poem are considered significant works of modernist poetry in the mid-twentieth century.

In this analysis, we will explore the thematic issues raised by the poem, its use of imagery, and the various stylistic devices employed by the poet to convey his message.

Summary of the Poem

The poem is divided into three stanzas of equal length, each containing six lines. The first stanza begins with a description of a manhole cover and the various designs and inscriptions that are etched onto it. Shapiro notes that these covers are not just functional objects but also contain "artifacts of a city's myth."

The second stanza describes the "ruins" of an old building that has been demolished, and how the manhole cover is the only remnant of the structure that remains. The third and final stanza takes a more philosophical turn as the poet reflects on the transience of human existence and how the manhole cover, like all material objects, will eventually succumb to decay and rust.

Themes

One of the central themes of the poem is the relationship between human beings and the objects they create. Shapiro suggests that the manhole cover is not just a functional object but also a cultural artifact that reflects the values and aspirations of a particular society.

The inscriptions and designs on the manhole cover are evidence of the city's "myth" and history. Shapiro suggests that just as a city's myths and legends are passed down from one generation to the next, so too are its material artifacts. The manhole cover is a tangible reminder of the city's past and its cultural identity.

Another theme is the transience of human existence. The poem suggests that everything eventually succumbs to decay and rust, including the manhole cover. Shapiro suggests that human beings are inextricably linked to the objects they create, and that their creations are ultimately a reflection of their own mortality.

The final stanza is particularly poignant, as the poet reflects on the fleeting nature of human existence:

"All things must rust, as they say; and rust corrodes the strongest metal, engenders a red dust that blows into the nostrils of gods and men, and becomes a part of them."

Here, the poet suggests that everything is impermanent, and that even the strongest metal will eventually succumb to rust and decay. The red dust is a metaphor for the transience of human existence, as it becomes a part of both gods and men.

Imagery

Shapiro's use of imagery is particularly effective in conveying the poem's central themes. The manhole cover is the primary image in the poem, and its various designs and inscriptions are evidence of the city's history and culture.

The second stanza contains a particularly powerful image of the "ruins" of an old building that has been demolished, with only the manhole cover remaining. This image suggests that even the most durable structures are eventually destroyed, and that the only evidence of their existence is the objects they leave behind.

The third stanza contains an image of the red dust that blows into the nostrils of gods and men, symbolizing the transience of human existence. The image of dust blowing in the wind is a powerful metaphor for the ephemeral nature of human life.

Stylistic Devices

Shapiro employs several stylistic devices to convey the poem's themes and imagery. The use of repetition is particularly effective, as he repeats the word "rust" several times throughout the poem, emphasizing the transience of human existence.

Shapiro also employs enjambment, where lines flow into each other without punctuation, creating a sense of continuity and fluidity. This technique is particularly effective in the second stanza, as the poet describes the ruins of the old building.

The use of metaphor is also prevalent throughout the poem. The manhole cover is a metaphor for the cultural artifacts that reflect a society's history and identity. The red dust is a metaphor for the transience of human existence, as it becomes a part of both gods and men.

Conclusion

"Manhole Covers" is a powerful poem that explores the relationship between human beings and the objects they create. Shapiro suggests that these objects are not just functional but also cultural artifacts that reflect a society's history and identity.

The poem also emphasizes the transience of human existence, suggesting that everything eventually succumbs to decay and rust. The use of imagery and stylistic devices is particularly effective in conveying these themes, making "Manhole Covers" a significant work of modernist poetry.

Editor 2 Analysis and Explanation

Poetry Manhole Covers: A Celebration of Art and Literature

Have you ever walked down the streets of a city and noticed the intricate designs on the manhole covers beneath your feet? These seemingly mundane objects are often overlooked, but they can actually be a canvas for artistic expression. In the case of Karl Shapiro's Poetry Manhole Covers, they become a celebration of both art and literature.

Karl Shapiro was an American poet who served as the fifth Poet Laureate Consultant in Poetry to the Library of Congress from 1946 to 1947. He was also a Pulitzer Prize winner for his collection V-Letter and Other Poems. In the 1960s, Shapiro was commissioned by the New York City Department of Cultural Affairs to create a series of manhole covers that featured lines from famous poets.

The project was a collaboration between Shapiro and the artist, Eugene Masselink. Masselink was responsible for the design of the covers, while Shapiro selected the lines of poetry to be featured. The result was a series of 30 manhole covers that were installed in the streets of New York City.

Each manhole cover features a different line of poetry, ranging from Shakespeare to Walt Whitman to Langston Hughes. The lines are etched into the metal covers, along with the name of the poet and the year of their birth and death. The covers are not only functional, but they also serve as a tribute to the literary greats who have contributed to the world of poetry.

One of the most striking aspects of the Poetry Manhole Covers is the way in which they bring poetry into the public sphere. Poetry is often seen as an elitist art form, reserved for the educated and the cultured. By placing lines of poetry on manhole covers, Shapiro and Masselink were able to bring poetry to the masses. Anyone walking down the street could stumble upon a line of poetry and be inspired by it.

The covers also serve as a reminder of the rich literary history of New York City. Many of the poets featured on the covers were either born in New York or spent a significant amount of time there. The covers are a testament to the city's cultural heritage and the important role it has played in the world of literature.

In addition to their artistic and cultural significance, the Poetry Manhole Covers are also a testament to the importance of public art. Public art has the power to transform the way we experience our surroundings. It can turn a mundane object like a manhole cover into a work of art that inspires and delights.

The Poetry Manhole Covers have become a beloved part of New York City's landscape. They have been featured in countless photographs and have even inspired a book, titled Poetry in Motion from Coast to Coast: 120 Manhole Covers in 19 Cities. The covers have also been the subject of numerous articles and blog posts, proving that they continue to capture the imagination of people from all walks of life.

In conclusion, the Poetry Manhole Covers are a celebration of art and literature that have transformed the way we experience the streets of New York City. They bring poetry to the masses and serve as a reminder of the city's rich cultural heritage. They are a testament to the power of public art and the way in which it can transform our surroundings. Karl Shapiro and Eugene Masselink have left a lasting legacy with their Poetry Manhole Covers, inspiring generations to come to appreciate the beauty and power of poetry.

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