The Bright Lights of Sarajevo
By Tony Harrison
After the hours that Sarajevans pass
Queuing with empty canisters of gas
to get the refills they wheel home in prams,
or queuing for the precious meagre grams
of bread they’re rationed to each day,
and often dodging snipers on the way,
or struggling up sometimes eleven flights
of stairs with water, then you’d think the nights
of Sarajevo would be totally devoid
of people walking streets Serb shells destroyed,
but tonight in Sarajevo that’s just not the case and
The young go walking at a strollers pace,
black shapes impossible to mark
as Muslim, Serb or Croat in such dark,
in unlit streets you can’t distinguish who
calls bread hjleb or hleb or calls it kruh,
All takes the evening air with a strollers stride,
no torches guide them, but they don’t collide
except as one of the flirtatious ploys
when a girl’s dark shape is fancied by a boy’s.
Then the tender radar of the tone of voice
shows by its signals she approves his choice.
Then match or lighter to a cigarette
to check in her eyes if he’s made progress yet.
And I see a pair who’ve certainly progressed
beyond the tone of voice and match lit flare test
and he’s about, I think, to take her hand
and lead her away from where they stand
on two shells scars, where, in 1992
Serb mortars massacred the breadshop queue
and blood dunked crusts of shredded bread
lay on this pavement with the broken dead.
And at their feet in holes made by the mortar
that caused the massacre, now full of water
from the rain that’s poured down half the day,
though now even the smallest clouds have cleared away,
leaving the Sarajevo star-filled evening sky
ideally bright and clear for the bombers eye,
in those two rain full shell holes the boy sees
fragments of the splintered Pleiades,
sprinkled on those death-deep death-dark wells
splashed on the pavement by Serb mortars.
The dark boy shape leads dark girl shape away
to share one coffee in a candlelit café
until the curfew, and he holds her hand
behind AID flour sacks refilled with sand.
Understanding “The Bright Lights of Sarajevo”
Tony Harrison’s “The Bright Lights of Sarajevo” is a poignant and complex poem written in response to the siege of Sarajevo during the Bosnian War. Published in 1995, the poem captures a startling paradox: amidst the devastation and danger, young people continue to seek connection and normalcy. It is a testament to the resilience of the human spirit and a sobering reflection on the absurdity of conflict. The poem isn’t simply a depiction of war, but an exploration of how life persists – and even flourishes – in the face of unimaginable hardship.
Central Idea: The poem’s central idea revolves around the unexpected continuation of everyday life, courtship, connection, and simple enjoyment even within a city under siege. Harrison showcases how fundamental human desires transcend even the most horrific circumstances. The poem challenges us to consider the complexities of war and the enduring power of hope.
Key Knowledge: Understanding the historical context is vital to fully appreciate the poem. The Siege of Sarajevo lasted from 1992 to 1996 and was characterized by relentless shelling and sniper fire. This siege was one of the longest in modern history. The poem is not just about the physical destruction, but also the psychological impact on the citizens of Sarajevo.
In-Depth Analysis of “The Bright Lights of Sarajevo”
Establishing the Context: Daily Struggle and Unexpected Resilience
The poem begins by powerfully establishing the grim reality of life in Sarajevo. Lines such as “Queuing with empty canisters of gas / to get the refills they wheel home in prams” and “queuing for the precious meagre grams / of bread they’re rationed to each day” immediately immerse the reader in the daily struggles of the citizens. Harrison doesn’t shy away from detailing the constant threat of violence – “dodging snipers on the way” – painting a vivid picture of a city under duress. It is against this backdrop that the poem’s central paradox emerges. The shift in focus to the evenings, signaled by “but tonight in Sarajevo that’s just not the case and,” introduces the unexpected scene of young people strolling the streets.
The Power of Darkness: Dissolving Boundaries and Identity
The darkness of the city plays a crucial and symbolic role. Harrison notes “black shapes impossible to mark / as Muslim, Serb or Croat in such dark.” This observation is profound. The darkness functions as a great leveler, obscuring the ethnic divisions that fueled the conflict. In the absence of visual identifiers, the poem suggests that genuine connection can occur. Furthermore, the lines “in unlit streets you can’t distinguish who / calls bread hjleb or hleb or calls it kruh” demonstrate how even language, a key marker of identity, becomes blurred in the darkness. The simple act of calling bread by different names highlights the artificiality of these divisions and the common humanity shared by the citizens.
Nuance in Connection: Sensory Detail and Coded Communication
The “strollers pace” establishes an intimate and relaxed atmosphere, creating a sense of normalcy amidst the chaos. However, the poem also acknowledges the underlying tension. The young couple communicates through subtle cues – the “tender radar of the tone of voice” and the “match or lighter to a cigarette” – highlighting a cautious, almost coded interaction. The cigarette, in particular, serves as a “flare test” to gauge reciprocal interest. This nuanced portrayal of courtship demonstrates a quiet resilience and a determination to find connection even in the face of danger. It is a testament to the enduring power of human desire.
Haunting Juxtaposition: Life and Death Intertwined
The poem’s most striking characteristic is its haunting juxtaposition of life and death. The young couple stands “on two shells scars, where, in 1992 / Serb mortars massacred the breadshop queue.” This chilling detail underscores the constant threat of violence that hangs over even the most innocent moments. The image of “blood dunked crusts of shredded bread” is particularly gruesome, serving as a stark reminder of the human cost of the conflict. Even the rain, filling the mortar holes, cannot wash away the memory of the massacre. This jarring juxtaposition emphasizes the fragility of life and the enduring presence of trauma.
Symbolism of Stars and the “Bomber’s Eye”
The imagery of the stars is deeply symbolic. The “splintered Pleiades” reflected in the water-filled craters represent both beauty and fragmentation. The stars, normally associated with hope and guidance, are splintered, mirroring the shattered lives and city. However, the same clear night sky is also described as “ideally bright and clear for the bombers eye.” This chilling line underscores the irony of the situation: the beauty that brings solace to the young couple also makes them vulnerable to attack. It is a powerful illustration of how even the most innocent aspects of life can be tainted by war.
Fragile Hope: A Moment of Connection
The poem concludes with the couple seeking refuge in a “candlelit café,” a small act of defiance against the darkness. The “AID flour sacks refilled with sand” represent a blend of assistance and necessity, a desperate attempt to protect themselves. The image is both poignant and hopeful. The couple finds a moment of intimacy and connection, even as the threat of violence looms. The simple act of holding hands behind the sacks suggests a fragile but enduring connection, a testament to the resilience of the human spirit. The poem offers a glimmer of hope amidst the devastation, suggesting that even in the darkest of times, human connection can endure.
Literary and Poetic Devices in “The Bright Lights of Sarajevo”
Assonance and Consonance
Harrison skillfully utilizes assonance and consonance to create musicality and emphasize certain sounds. For example, the repetition of the /a/ sound in “black shapes impossible to mark” adds to the somber tone. Similarly, the repetition of the /s/ sound in “strollers stride” creates a sense of movement and fluidity. These subtle sonic devices contribute to the poem’s overall atmosphere and enhance its emotional impact.
Enjambment
Enjambment, the continuation of a sentence or phrase from one line to the next without a pause, is prevalent throughout the poem. This technique creates a sense of flow and mimics the continuous nature of life even amidst disruption. Notice how the lines “The dark boy shape leads dark girl shape away / to share one coffee in a candlelit café” flow seamlessly into each other, mirroring the unbroken rhythm of life within a city under siege.
Imagery and Symbolism
The poem is rich in imagery and symbolism. The “bright lights” themselves are ironic, as the city is largely unlit. This contrast emphasizes the resilience of the citizens, who continue to seek connection even in the darkness. The use of “shapes” rather than fully defined individuals highlights the loss of identity and the dehumanizing effects of war. The recurring images of water—rain filling the craters—symbolize both destruction and cleansing, suggesting a possibility of renewal even amidst devastation.
In conclusion, “The Bright Lights of Sarajevo” is a powerful and moving poem that offers a nuanced exploration of war, resilience, and the enduring power of the human spirit. Through its vivid imagery, evocative language, and skillful use of literary devices, the poem compels us to confront the complexities of conflict and to appreciate the fragility and beauty of life.