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  • Ben Okri’s Poem “Obama”

    Image:  Ben Okri

    Ben Okri’s Poem “Obama”

    A no-achievement president confounds the ability of a poet, who tries to celebrate the outgoing leader but can find no achievements to celebrate.

    Introduction with Text of Ben Okri’s “Obama” 

    On Thursday, January 19, 2017, one day before the inauguration of Donald Trump as the 45th president of the United States of America, the U.S.A. edition of The Guardian published Ben Okri’s poem [1] simply titled “Obama,” about which the publication claimed, “With Donald Trump about to enter the White House, a poet celebrates the achievements of the outgoing president.”

    One will peruse Okri’s poem in vain looking of any achievements that might be associated with President #44.  One will also peruse this poem in vain looking for any “celebration.”  The poem offers four musings of a philosophical nature, each handled in each of the four movements that structure the piece:  

    1. “Sometimes the world is not changed / Till the right person appears who can / Change it.”
    2. “For it is our thoughts that make / Our world.”
    3. “Being a black president is not a magic wand / That will make all black problems disappear.”
    4. “And so what Obama did and did not do is neither / Here nor there, in the great measure of things.”

    Each musing remains a vague utterance, especially in relationship to its avowed subject.  The promise of celebrating achievements becomes a dumbfounded leitmotiv that like the Obama presidency fails to deliver anything substantial.

    Toward the end of the piece, the speaker even seems to have become aware that he had not, in fact, offered anything concrete regarding the achievements of this president.  Thus, he rehashes an old lie that people wanted this president to fail so they could support their racism.  

    For any opposition to a black president has to be racist! 

    The opposition cannot be opposing a black president because they do not agree with his policies; that opposition must be the result of the “race-hate, twin deity of America,” despite the blaring fact that that race-hateful America elected this black man to their highest office twice.

    Okri usually provides level-headed, balanced thinking on most issues, even the race issue.  He knows the difference between achievement and lack thereof; thus, in this poem, he has his speaker spouting philosophical stances and then only implying that they apply to Barack Obama. 

    Okri, the thinking man, knows that Barack Obama is the epitome of an “empty-suit.”  Obama can lay no claim to achievements accept negative ones.  This poem might even be considered one of those that “damn with faint praise” [2].

    Obama

    Sometimes the world is not changed
    Till the right person appears who can
    Change it. But the right person is also
    In a way the right time. For the time
    And the person have to work
    The secret alchemy together.
    But to change the world is more than
    Changing its laws. Sometimes it is just
    Being a new possibility, a portal
    Through which new fire can enter
    This world of foolishness and error.
    They change the world best who
    Change the way people think.

    For it is our thoughts that make
    Our world. Some think it is our deeds;
    But deeds are the children of thought.
    The thought-changers are the game-changers,
    Are the life-changers.
    We think that achievements are symbols.
    But symbols are not symbols.
    Obama is not a mere symbol.
    Sometimes even a symbol is a sign
    That we are not dreaming potently
    Enough. A sign that the world is the home
    Of possibility. A sign that our chains
    Are unreal. That we are freer than we
    Know, that we are more powerful than
    We dare to think. If he is a symbol at all,
    Then he is a symbol of our possible liberation.
    A symbol also that power in this world
    Cannot do everything. Even Moses could
    Not set his people free. They too had to
    Wander in the wilderness. They too turned
    Against their leaders and their God
    And had to overcome much in their
    Make up and their history to arrive
    At the vision their prophets had long before.

    Being a black president is not a magic wand
    That will make all black problems disappear.
    Leaders cannot undo all the evils that
    Structural evils make natural in the life
    Of a people. Not just leadership, but
    Structures must change. Structures of thought
    Structures of dreams structures of injustice
    Structures that keep a people imprisoned
    To the stones and the dust and the ash
    And the dirt and the dry earth and the dead
    Roads. Always we look to our leaders
    To change what we ourselves must change
    With the force of our voices and the force
    Of our souls and the strength of our dreams
    And the clarity of our visions and the strong
    Work of our hands. Too often we get fixated
    On symbols. We think fame ought to promote
    Our cause, that presidents ought to change our
    Destinies, that more black faces on television
    Would somehow make life easier and more just
    For our people. But symbols ought to only be
    A sign to us that the power is in our hands.
    Mandela ought to be a sign to us that we cannot
    Be kept down, that we are self-liberating.
    And Obama ought to be a sign to us that
    There is no destiny in colour. There is only
    Destiny in our will and our dreams and the storms
    Our “noes” can unleash and the wonder our “yesses”
    Can create. But we have to do the work ourselves
    To change the structures so that we can be free.
    Freedom is not colour; freedom is thought; it is an
    Attitude, a power of spirit, a constant self-definition.

    And so what Obama did and did not do is neither
    Here nor there, in the great measure of things.
    History knows what he did, against the odds.
    History knows what he could not do. Not that
    His hands were tied, but that those who resent
    The liberation of one who ought not to be liberated
    Blocked those doors and those roads and whipped
    Up those sleeping and not so sleeping demons
    Of race-hate, twin deity of America. And they turned
    His yes into a no just so they could say they told us so,
    Told us that colour makes ineffectuality, that colour
    Makes destiny. They wanted him to fail so they could
    Prove their case. Can’t you see it? But that’s what
    Heroes do: they come through in spite of all that blockage,
    All those obstacles thrown in the path of the self-liberated.
    That way the symbol would be tainted and would fail
    To be a beacon and a sign that it is possible
    To be black and to be great.

    Commentary on Ben Okri’s  “Obama”

    Ben Okri is a fine poet and thinker.  His unfortunate choice of subject matter for this piece, however, leads his speaker down a rocky path to nowhere.

    First Movement:  “Change”?  But Where is the “Hope”?

    The speaker of Okri’s “Obama” has a mighty task before him:  he must transform a sow’s ear into a silk purse.  And of course, that cannot be done.  But the speaker tries, beginning with some wide brush strokes that attempt to sound profound:  only the right person appearing at the right time can change with world.  

    Changing laws is not sufficient to change the world, so sometimes it is only a “new possibility” which functions like a new door “through with a new fire can enter.”  

    The speaker is, of course, implying that his subject, Obama, is that “portal” through which a new fire has entered.  Readers will note that the speaker is only implying such; he does not make any direct statement about Obama actually being that new door or new fire.

    The election of 2016, after eight years of this implied new fire that has supposedly changed the way people think, proved that American citizens were indeed thinking differently.

    They had grown tired of stagnant economic growth, the destruction of their health care system, the rampant lawlessness of illegal immigrants, the war on law enforcement officers fueled by that “hope and change” spouting candidate, the ironically deteriorated race relations, and the installation of a petty dictatorship fueled by political correctness.  

    This beckon of hope and change had promised to fundamentally change [3] the United States of America, and his policies indeed had put the country on a path to an authoritarian state from which the Founders had guarded the country through the U. S. Constitution.  Obama proceeded to flout that document as he ruled by executive order, circumventing the congress.

    Indeed, after those abominable, disastrous eight years, people’s minds had changed, and they wanted no more of those socialistic policies that were driving the country to the status of a Banana Republic.

    The speaker, of course, will never refer to any of the negative accomplishments of his subject, but also he will never refer to any positive accomplishment because there simply are none.  Thus, no achievement is mentioned in the opening movement.

    Five days away:  

    Second Movement:  Symbols, Signs, Still No Achievements

    The speaker then continues with the mere philosophizing, offering some useful ideas that have nothing to do with his subject.  He asserts the importance of thought, how thought is the mother of deeds.  He then begins an equivocating series of lines that indeed fit quite well with the shallow, misdirection of the subject about which he tries to offer a celebration.

    The speaker makes a bizarre, false claim, “We think that achievements are symbols.”  We do not think any such thing; we think that achievements are important, useful accomplishments.

    A presidential achievement represents some act which the leader has encouraged that results in better lives for citizens. 

    Americans had high hopes [4] that the very least this black president could achieve would be the continued improvement of race relations.  Those hopes were dashed as this president from his bully pulpit denigrated whole segments of society—the religious, the patriotic, and especially the members of law enforcement [5].  

    Obama damaged the reputation of the entire nation as he traveled on foreign soil, apologizing for American behavior [6] that had actually assisted those nations in their times of distress.  

    The speaker then ludicrously states, “symbols are not symbols,” which he follows with “Obama is not a mere symbol.”  

    In a kind of syllogistic attempt to define a symbol, the speaker admits the truth that Obama actually had no achievements. If achievements are symbols, and Obama is not a “mere” symbol, then we hold the notion that Obama does not equal achievements, except for whatever the word “mere” might add to the equation.

    But the speaker then turns from symbols to signs. Signs can show us whether we are dreaming correctly or not.  Signs can show us that we are more free than we know.  But if Obama is any kind of  symbol, he symbolizes “our possible liberation.”  

    But he is also a symbol that “power in this world / Cannot do everything.”  He then turns to Moses’ inability to liberate his people.

    The sheer inappropriateness of likening the lead-from-behind, atheistic Obama to the great historical, religious figure Moses boggles the mind.  The speaker then makes an astoundingly arrogant inference that Americans turning against Obama equates to Moses’ people turning against him “and their God.”  

    Americans turning against leader Obama means they will have to “wander in the wilderness” until they at last come to their senses and return to the “vision of their prophets.”

    The speaker again has offered only musings about symbols, signs, power, lack of power, dreams, and misdirection, but he offers nothing that Obama has done that could be called an achievement.

    Third Movement:  Color Is not Destiny

    This movement offers a marvelous summation of truths, which essentially places all leaders in their proper places.  Leaders can serve only as symbols or signs to remind citizens that only the people themselves have the power to change the structures of society that limit individuals.  

    Black presidents possess no “magic wand” with which to make all “black problems disappear.”  Even Nelson Mandela should serve only as a sign that we are all “self-liberating.”

    The speaker rightly laments that we tend to look to our leaders to perform for us the very acts that we must perform for ourselves.  Our leaders cannot guarantee our inner freedom, only we can do that. 

    He asserts that Obama must remain only a sign that there is “no destiny in colour.”  Our destiny is in our own will and in our own dreams. 

    The speaker correctly asserts, “Freedom is not colour; freedom is thought; it is an / Attitude, a power of spirit, a constant self-definition.”

    Sadly, Obama has never demonstrated that he understands the position taken in Okri’s third movement.  Obama is so steeped in political correctness and radical collectivism that he always denigrates the stereotypical white privileged over the stereotypical groups of race, gender, nationality, and religion.  

    Obama’s warped, highly partisan stance would never accept the statements about freedom as described by Okri.  Obama believes that only the state can grant freedom to the proper constituencies as it punishes others.  Okri’s analysis runs counter to the Obama worldview [7].

    Thus, again, in its third movement, this poem that claims to be a celebration of the presidential achievements of the 44th president offers only philosophical musings, and although some of those musings state an accurate position, there still remains no positive achievement that can attach to Obama.

    Fourth Movement:  Obama, Neither Here nor There 

    With complete accuracy once again, Okri’s speaker states baldly, “And so what Obama did and did not do is neither / Here nor there, in the great measure of things.”  Certainly, one who looks for positive achievements will find the blandness of this statement on the mark.  The speaker then adds that history will record what Obama did and also what he was unable to do.

    Then the narrative goes totally off the rails.  American racists, those “racists” who had elected this black president twice, threw up road blocks that limited this president’s accomplishments.  

    They wanted him to fail because being black he had no right to succeed.  The speaker implies that those American racists thought that this black president did not deserve liberation, meaning they thought he should be a slave—a ludicrous, utterly false claim. 

    The speaker then concludes with a weak implication that Obama is a hero, who demonstrated that it is possible to be “black and to be great”:  

    They wanted him to fail so they could
    Prove their case. Can’t you see it? But that’s what
    Heroes do: they come through in spite of all that blockage,
    All those obstacles thrown in the path of the self-liberated.
    That way the symbol would be tainted and would fail
    To be a beacon and a sign that it is possible
    To be black and to be great.

    The problem with this part of the narrative again is, on the one hand, that it is only an implication, not a positive statement making the claim that Obama was, in fact, a hero; on the other hand, it is obvious why the speaker would only imply these positive qualities to Obama:  the man is not a hero; indeed, he is a fraud [8].  

    Fraudulent Claims of Literary Prowess

    There is a certain bit of irony in having a poem attempt to celebrate the achievements of a colossal fraud [9].  Nowhere is the evidence of Obama’s characteristic as a fraud more evident than in his claims to have written his two books, Dreams from My Father, and The Audacity of Hope

    Jack Cashill’s “Who Wrote Dreams from My Father?” [10] offers convincing evidence that Barack Obama could not have written the books he claims to have authored.  And Cashill continues his analysis of Obama’s writing skills in “Who Wrote Audacity of Hope?” [11].

    Writing in the Illinois Review, Mark Rhoads [12] poses the same question regarding the Obama works.  Even Obama’s presidential library [13] will offer no evidence that the president possessed any literary skills.

    Clearly, Okri’s poem provides a mélange of attitudes toward its subject.  On the one hand, it wants to praise the outgoing president, but on the other, it simply can find nothing with which to do so. 

    That the poem concludes with a bald-face lie is unfortunate, but understandable.  Still, it cannot hide the truth:  that Barack Obama offered it no achievements, which it could celebrate; at best, only phony ones [14].

    Sources

    [1]  Ben Okri.  “Barack Obama: a celebration in verse.”  The Guardian.  January 19, 2017.

    [2] Alexander Pope.  Rape of the Lock and Other Poems.  Project Gutenberg.  October 18, 2003.

    [3]  Barack Obama. “We Are 5 Days From Fundamentally Transforming America.” YouTube.  Feb 2, 2012.

    [4] Jeffrey M. Jones. “In U.S., Obama Effect on Racial Matters Falls Short of Hopes.” Gallup. August 11, 2016.

    [5]  Ben Smith. “Obama on small-town Pa.: Clinging to religion, guns, xenophobia.”  Politico.  April 11, 2008.

    [6]   Nile Gardiner and Morgan Lorraine Roach.  “Barack Obama’s Top 10 Apologies: How the President Has Humiliated a Superpower.”  The Heritage Foundation.  June 2, 2009.

    [7]  Andrew Miller.  “Unriddling the Radical Worldview of President Obama.”  The Trumpet. January 2016.

    [8]  Andrew McCarthy.  “Obama’s Massive Fraud.”  National Review Online.  November 9, 2013.

    [9]  Jack Cashill.  “‘Roots,’ ‘Dreams,’ and the Unequal Punishment of Fraud.”  The American Spectator.  December 26, 2021.

    [10]   – – – . “Who Wrote Dreams From My Father?American Thinker.  October 9, 2008.

    [11]  – – – .  “The Question the Times Should Have Asked ‘Writer’ Barack Obama.”  The American Spectator.  January 25, 2017.

    [12]  Mark Rhoads.  “Did Obama Write ‘Dreams from My Father or ‘Audacity of Hope’?”  Illinois Review. October 16, 2008.

    [13] Lolly Bowean.  “Without archives on site, how will Obama Center benefit area students, scholars?”  Chicago Tribune. October 8, 2017.

    [14]  Jennifer Rubin.  “Obama’s phony accomplishments leave us worse off.”  Washington Post.  Feb. 12, 2016.

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  • Barack Obama’s “Pop”

    Image: Obamas I, II, and Frank Marshall Davis  

    There is a price to be paid for criticizing Obama.” Jack Cashill

    Barack Obama’s “Pop”

    In Barack Obama’s “Pop,” the speaker is sketching what appears to be a father-figure—likely Frank Marshall Davis—and offering a glimpse into the relationship between the two.  Obama called his maternal grandfather “Gramps,”  rendering it unlikely that the father-figure in this poem is Stanley Dunham.

    Introduction with Text of “Pop”

    The spring 1981 issue of Feast, Occidental College’s literary magazine, published two poems, “Pop” and “Underground,” by erstwhile literary prodigy Barack Obama.  According to Jack Cashill, long-time researcher of Obama’s literary efforts, Obama’s writings [1] suffer from, “awkward sentence structure, inappropriate word choice, a weakness for clichés,” and “the continued failure to get verbs and nouns to agree.” 

    Obama’s poems suffer from similar language indignities but also include further issues relevant to poems, such a faulty line breaks, confusing mixed metaphors, and inappropriate use of surrealist images.

    Although readers can forgive a 19-year old for adolescent scribblings in non-sense, especially in poems published in a college lit mag, what they cannot do is discern that this particular adolescent was showing any potential to produce a future writer. 

    Likely, the future, and now former, occupier of the Oval Office could have become a capable interpretive reader, and it is possible that Barack Obama would have served more admirably as an actor [2] than writer or president.  

    Barack Obama possesses a unique charm that could have been employed in creative ways, if he had kept his focus on the humanities and entertainment fields instead of politics and government.  The Obama administration, tainted by incompetence and corruption [3], has altered the American political landscape more intensely than any other in American history.  

    For this misdirection, Barack Obama is less to blame than his handlers, beginning with political American terrorist Bill Ayers, continuing with political hacks David Axelrod and Valerie Jarrett. 

    His coterie of political advisors steered him in a direction that has enriched Obama and that coterie financially, instead of enriching society in a humanitarian field of endeavor.  The former president’s piece titled “Pop” consists of one 45-line versagraph [4]. The piece’s awkward, postmodern codswallop represents much of what is despicable and destructive in most postmodern art.

    Pop

    Sitting in his seat, a seat broad and broken
    In, sprinkled with ashes,
    Pop switches channels, takes another
    Shot of Seagrams, neat, and asks
    What to do with me, a green young man
    Who fails to consider the
    Flim and flam of the world, since
    Things have been easy for me;
    I stare hard at his face, a stare
    That deflects off his brow;
    I’m sure he’s unaware of his
    Dark, watery eyes, that
    Glance in different directions,
    And his slow, unwelcome twitches,
    Fail to pass.
    I listen, nod,
    Listen, open, till I cling to his pale,
    Beige T-shirt, yelling,
    Yelling in his ears, that hang
    With heavy lobes, but he’s still telling
    His joke, so I ask why
    He’s so unhappy, to which he replies…
    But I don’t care anymore, cause
    He took too damn long, and from
    Under my seat, I pull out the
    Mirror I’ve been saving; I’m laughing,
    Laughing loud, the blood rushing from his face
    To mine, as he grows small,
    A spot in my brain, something
    That may be squeezed out, like a
    Watermelon seed between
    Two fingers.
    Pop takes another shot, neat,
    Points out the same amber
    Stain on his shorts that I’ve got on mine, and
    Makes me smell his smell, coming
    From me; he switches channels, recites an old poem
    He wrote before his mother died,
    Stands, shouts, and asks
    For a hug, as I shink, my
    Arms barely reaching around
    His thick, oily neck, and his broad back; ‘cause
    I see my face, framed within
    Pop’s black-framed glasses
    And know he’s laughing too.

    Commentary on “Pop”

    The man addressed in Obama’s “Pop” is likely Frank Marshall Davis, long thought to be Obama’s biological father [5]. Barry called his Grandfather Dunham “Gramps” [6], not “Pop.”

    First Movement: Sheltered Young Man

    Sitting in his seat, a seat broad and broken
    In, sprinkled with ashes,
    Pop switches channels, takes another
    Shot of Seagrams, neat, and asks
    What to do with me, a green young man
    Who fails to consider the
    Flim and flam of the world, since
    Things have been easy for me;
    I stare hard at his face, a stare
    That deflects off his brow;
    I’m sure he’s unaware of his
    Dark, watery eyes, that
    Glance in different directions,
    And his slow, unwelcome twitches,
    Fail to pass.

    The speaker places his father-figure in his usual chair where the latter is watching television, enjoying his “Seagrams, neat.” The man, called Pop, begins accosting the young man by flinging at him a rhetorical question: “What to do with me?”  

    The speaker asserts that Pop thinks his young charge is just a “green young man / Who fails to consider the / Flim and flam of the world.” 

    Pop counsels the young man that the latter’s sheltered existence is responsible for the young man’s failure to recognize the “flim-flam” world. The speaker then stares at the old man, who exhibits a facial tick, while his eyes dart off “in different directions / And his slow, unwelcome twitches.”

    Frank Marshall Davis Is “Pop”

    While many reviewers of this poem have interpreted Pop to be Stanley Armour Dunham, the maternal grandfather who raised Obama, the former president’s hagiographer, David Maraniss, in his biography, Barack Obama: The Story, reveals that the poem “Pop” focuses on Frank Marshall Davis [7], not Stanley Armour Dunham.

    And the details of the poem all point to the truth of that revelation.  That Obama’s grandfather, who raised him, would be addressing such an issue with his young charge is untenable.   If the boy is incapable of considering the “flim-flam” of the world, whose fault would that be? It would be the person who raised the kid. 

    Obama’s relationship with Frank Marshall Davis, however, provides the appropriate station for such a topic of conversation. Davis took it upon himself to help the young Obama see the world through the lens of a black man in America. 

    Again, if “things have been easy for” the young Barry, it has been the grandfather who made them easy; thus, for the grandfather to be accosting the boy for that supposed flaw would be absurd.

    Obama’s grandfather introduced the boy to Davis for the purpose of providing Barry with the advice of an older man who had lived the life of a black man in America.  The Dunhams were heavily invested in identity politics as likely members of the Communist Party, as was card carrying member, Frank Marshall Davis [8]. 

    The grandfather was of the inclination that he could never guide a young black boy in certain areas but that Davis could. Whether that sensibility is accurate or not is the topic for another day, but the topic being discussed by the speaker of this poem precludes the poem’s addressing Obama’s white grandfather.

    Faulty Line Breaks

    Many of the bad line breaks [9] in the poem demonstrate the amateurish nature of the poetaster, who makes the rookie flaw of ending several lines with the definite article “the.” 

    About Obama’s use of line breaks, poet Ian McMillan sarcastically observes [10]: “Barack likes his line breaks, his enjambments: let’s end a line with ‘broken’ and start it with ‘in’ just because we can!”

    Second Movement: Surrealistic Encounter

    I listen, nod,
    Listen, open, till I cling to his pale,
    Beige T-shirt, yelling,
    Yelling in his ears, that hang
    With heavy lobes, but he’s still telling
    His joke, so I ask why
    He’s so unhappy, to which he replies…
    But I don’t care anymore, cause
    He took too damn long, and from
    Under my seat, I pull out the
    Mirror I’ve been saving; I’m laughing,
    Laughing loud, the blood rushing from his face
    To mine, as he grows small,
    A spot in my brain, something
    That may be squeezed out, like a
    Watermelon seed between
    Two fingers.

    The speaker then employs a surrealistic style as he continues to describe his encounter with Pop. 

    The speaker listens politely, nodding occasionally, as the old man declaims, but suddenly the speaker is “cling[ing] to the old man’s “[b]eige T-shirt, yelling / Yelling in his ears.” Those ears have “heavy lobes,” and the old man is “still telling / His joke.” But the speaker then asks Pop, “why / He’s so unhappy.”

    Pop starts to respond, but the speaker does not “care anymore, cause / He took too damn long.” The speaker then pulls out a mirror from under his seat. 

    The confusion here mounts because the speaker had just claimed he was clinging to Pop’s shirt and yelling in the old man’s ear, which would have taken the speaker out of his seat. This confusion adds to the surreal nature of the episode.

    After pulling out the mirror, the speaker asserts that he is “laughing, / Laughing loud.” What he does with the mirror is never made clear. But during his outbreak of laughter, Pop “grows small” shrinking to a “spot in [the speaker’s] brain.” 

    That tiny spot, however, “may be squeezed out, like a / Watermelon seed between / Two fingers.” This shrunken seed image of the speaker’s pop implies a level of disrespect that is quite breathtaking as it suggests that the speaker would like to eliminate Pop from his mind.

    Third Movement: Smelling the Stain

    Pop takes another shot, neat,
    Points out the same amber
    Stain on his shorts that I’ve got on mine, and
    Makes me smell his smell, coming
    From me; he switches channels, recites an old poem
    He wrote before his mother died,
    Stands, shouts, and asks
    For a hug, as I shink, my
    Arms barely reaching around
    His thick, oily neck, and his broad back; ‘cause
    I see my face, framed within
    Pop’s black-framed glasses
    And know he’s laughing too.

    The speaker observes that Pop “takes another shot, neat,” but he probably means that the old man took another sip; it is not likely that the father-figure is measuring out each swig with a shot glass. 

    With this swig, Pop “points out the same amber / Stain on his shorts that I’ve got on mine, and / Makes me smell his smell, coming / From me.” During the exchange, while clinging to Pop’s shirt, the speaker has stained Pop’s shorts.

    And Pop wants the speaker to realize his blame for the stain. At least, that’s one way to interpret the smelling the stain scene. 

    Others have inferred a sexual reference in the “smelling” scene, but that requires too much of a stretch, that is, a reading into the text what is not there and not implied.

    Pop then changes TV channels and “recites an old poem / He wrote before his mother died.” He then rises from his seat, “shouts, and asks / For a hug.” 

    The younger man realizes his smallness in comparison to the size of Pop: “my / Arms barely reaching around / His thick, oily neck, and his broad back.” But the speaker sees himself reflected in Pop’s “black-framed glasses.” And now Pop is “laughing too.”

    The reference to a poem written before Pop’s mother died also eliminates Grandfather Dunham as “Pop.” Dunham was only eight years old, when he discovered the body of his mother who had committed suicide. 

    The notion that an aged man would be quoting a poem that he wrote before he was eight years old is patently absurd. Plus there is no evidence that Grandfather Dunham ever wrote any poetry, while Frank is famously known as a poet, as well as his other endeavors in political activism and pornography.

    “Shink” Is Obviously a Typo and “Know” Is Likely “Now”

    Much has been made of the obvious typo in the line, “For a hug, as I shink, my.” The word is obviously “shrink.” Pop had shrunk to the size of a watermelon seed a few lines earlier, and now the speaker shrinks as he realizes how much smaller he is than Pop.

    It is quite possible that in the last line “know” is an additional typo, for the word “now” would be more appropriate. It would be nonsensical for the speaker to say he “knows” Pop is laughing when he is right there looking into his face. But it makes sense for him to report that during the hug Pop also begins to laugh.

    Interestingly, the editors of the New York Times quietly corrected the “shink” to “shrink” when they published the poems on May 18, 2008, in an article under the title, “The Poetry of Barack Obama [11]”. The editors did not correct the obvious error “know” for “now” in the last line.

    Sources

    [1]  Jack Kerwick. Jack Cashill’s Deconstructing Obama. American Thinker. February 25, 2011.

    [2]  Padmananada Rama. “Obama Heads To Hollywood; Conservative Group Mocks ‘Celebrity President’.” NPR. May 10, 2012.

    [3]  Hans A. von Spakovsky.  “Obama’s ‘Scandal-Free Administration’ Is a Myth.”  Heritage Foundation.  January 16, 2017.

    [4]  Linda Sue Grimes. “Literary Devices: Tools of the CommentarianLinda’s Literary Home. Accessed December 3, 2025.

    [5] Joel Gilbert. Dreams from My Real Father: A Story of Reds and Deception. Documentary. Trailer. July 24, 2012.

    [6]  Nancy Benac. “Obama’s Gramps: Gazing skyward on D-Day in England.” San Diego Union-Tribune. May 30, 2009.

    [7]  Cliff Kincaid. “The Red Diaper Baby in Obama’s Red Cover-Up.”  Renew America.  September 2, 2016.

    [8] Paul Kengor.  “What Obama’s Mentor Thought About General Motors.”  Forbes.  August 2012.

    [9] Eric McHenry. “Obama’s Oddest Critic.” Salon. July 17, 2012.

    [10]  Ian McMillan. “The Lyrical Democrat.” The Guardian. March 29, 2007.

    [11]  Editors.  “The Poetry of Barack Obama.” New York Times. May 18, 2008.