Bully
By Martin Espada
In the school auditorium,
the Theodore Roosevelt statue
is nostalgic
for the Spanish‑American war
each fist lonely for a saber,
or the reins of anguish‑eyed horses,
or a podium to clatter with speeches
glorying in the malaria of conquest.But now the Roosevelt school
is pronounced Hernandez.
Puerto Rico has invaded Roosevelt
with its army of Spanish‑singing children
in the hallways,
brown children devouring
the stockpiles of the cafeteria,
children painting Taino ancestors
that leap naked across murals.Roosevelt is surrounded
by all the faces
he ever shoved in eugenic spite
and cursed as mongrels, skin of one race,
hair and cheekbones of another.Once Marines tramped
from the newsreel of his imagination;
now children plot to spray graffiti
in parrot‑brilliant colors
across the Victorian mustache
and monocle.
Summary of “Bully”
- A Poem of Shifting Power: Martin Espada’s “Bully,” first published in 1990, is a powerful and ironic poem that explores the complex relationship between colonizer and colonized. It cleverly reverses the historical narrative of the Spanish‑American War and its aftermath, presenting a contemporary scene where the children of those once subjugated now “invade” the spaces of American dominance.
- Central Idea: The Cycle of Power: At its heart, “Bully” examines the cyclical nature of power and dominance. Espada suggests that those who once inflicted harm are now faced with a symbolic reversal of fortune. The poem challenges us to consider the lasting impact of colonialism and the ways in which history can be rewritten, or at least reinterpreted, through the eyes of the marginalized.
- Key Themes and Knowledge: The poem’s core themes revolve around colonialism, historical irony, and the concept of the “melting pot.” Espada masterfully uses imagery and metaphor to highlight the complexities of American identity and the often‑painful legacy of its imperial past. The shift from Roosevelt to Hernandez is not merely a name change; it represents a fundamental shift in the power dynamic within the school—and by extension, within the nation.
In-Depth Analysis of “Bully”
Understanding the Historical Context
To truly appreciate “Bully,” it is crucial to understand the historical context. The Spanish‑American War of 1898 resulted in the United States gaining control over territories such as Puerto Rico. The poem’s opening lines immediately establish this historical backdrop, portraying the Theodore Roosevelt statue as “nostalgic” for a war that brought conquest and suffering to others. The phrase “glorying in the malaria of conquest” is particularly striking. Malaria, a disease rampant in the tropics, is presented not as a tragedy but as a byproduct of imperial ambition, revealing the callousness inherent in the pursuit of power.
The Reversal of Roles
The second stanza marks a pivotal shift in the poem’s narrative. The “Roosevelt school” is now “pronounced Hernandez,” signifying a symbolic reclaiming of space by the Puerto Rican community. Espada’s use of the word “invaded” is deliberately provocative. It mirrors the language used to describe the American occupation of Puerto Rico, turning it back on the present‑day reality. The imagery of “Spanish‑singing children” and children “devouring” the school’s resources is not presented as threatening, but as a natural assertion of their presence. The depiction of children painting “Taino ancestors” is a powerful act of cultural reclamation, replacing symbols of conquest with representations of their own heritage.
Consider this excerpt: “Puerto Rico has invaded Roosevelt / with its army of Spanish‑singing children.” This isn’t a literal military invasion. Espada uses “invaded” in an ironic sense, suggesting that the presence of the children—their culture, their language, their very existence—is a reclaiming of space previously dominated by American ideals. It is a poetic assertion of identity and resistance.
Confronting the Past
The third stanza delves into the darker aspects of Roosevelt’s legacy. Espada unflinchingly acknowledges Roosevelt’s eugenic beliefs and his discriminatory views toward people of color. The lines “Roosevelt is surrounded / by all the faces / he ever shoved in eugenic spite” are deeply unsettling. They force us to confront the uncomfortable truth about the prejudices that underpinned American imperialism. The description of the faces as having “skin of one race, / hair and cheekbones of another” highlights the complexities of racial identity and the ways in which categorization can be used to justify oppression.
Notice how Espada uses direct address in this stanza. He isn’t simply describing a statue; he is suggesting that the statue remembers the faces of those it once scorned. This personification adds a layer of moral weight to the poem, implying that the past cannot be erased.
The Symbolic Act of Defiance
The final stanza depicts a scene of symbolic defiance. The children are plotting to spray graffiti “in parrot‑brilliant colors” across Roosevelt’s “Victorian mustache / and monocle.” This act of vandalism is not presented as destructive, but as a reclaiming of agency. The “parrot‑brilliant colors” suggest a vibrant, defiant assertion of cultural identity. The mustache and monocle—symbols of Victorian authority and imperial power—become the targets of this symbolic assault.
This line, “now children plot to spray graffiti / in parrot‑brilliant colors / across the Victorian mustache / and monocle,” is a powerful visual image. The graffiti represents a disruption of the established order, a rejection of the values that the mustache and monocle symbolize. The use of “parrot‑brilliant colors” suggests a celebration of vibrant, indigenous culture.
Literary and Poetic Devices
Imagery
Espada masterfully employs imagery throughout the poem, creating vivid and memorable scenes. The image of the “malaria of conquest” and the “parrot‑brilliant colors” are particularly striking. These images appeal to our senses, evoking strong emotional responses.
Irony
The poem is steeped in irony. The title itself, “Bully,” is ironic, considering the historical context of American imperialism. The reversal of roles—the colonized becoming the “invaders”—is also ironic. This irony forces us to question our assumptions about power and dominance.
Juxtaposition
Espada juxtaposes contrasting images and ideas throughout the poem. For example, he juxtaposes the grandeur of the Roosevelt statue with the faces of those it once scorned. This juxtaposition creates a sense of tension and highlights the contradictions inherent in American history.
Metaphor and Symbolism
The entire poem can be read as an extended metaphor for the cycle of power and oppression. The Roosevelt statue symbolizes the legacy of colonialism, while the children represent the forces of resistance and cultural reclamation. The school itself serves as a symbol of the ongoing struggle for identity and belonging.
Free Verse
Espada’s use of free verse allows him to create a conversational and dynamic rhythm. The lack of rhyme or strict meter lets the images and ideas flow freely, creating a sense of immediacy and authenticity.
Quotes to Consider for Discussion
Once Marines tramped
from the newsreel of his imagination;
now children plot to spray graffiti
in parrot‑brilliant colors
across the Victorian mustache
and monocle
This excerpt encapsulates the poem’s central theme of historical reversal. It highlights the shift in power dynamics and the defiant assertion of cultural identity. It is a powerful image that can spark engaging discussions about colonialism, resistance, and the enduring legacy of the past.
“Bully” is more than just a poem; it is a challenge to rethink our understanding of history and identity. By subverting traditional narratives and giving voice to the marginalized, Martin Espada has created a work that is both intellectually stimulating and emotionally resonant.