Travelers Insurance Presents: The Triumph of Man
Christopher Blackman
Cheers to the first fish who ever felt wet
enough to stick his head out of the water.
Thanks be to him, the fishy father here
immortalized in museum display. I push

this button and let light fill the enclosure,
illuminating a tangle of ferns and volcanic rock
as this trailblazing fish takes the first steps
on stalwart legs. His cliff-faced progeny

harnesses fire in a cave down the hall—I push
a button and the room fills with the sounds
of crackling logs, the thudding music of bone mallets.
Now look here! What's this? Another display,

more glass partitioning me from Mesopotamians.
They drop boulders on raiders—in every room
there seems to be a fence, and in every room
there is a person climbing it. I approach

the New World wing: pioneers wave
from a passing barge. And on the right, the piled
corpses of Antietam. Each switch I flick
is like an apocalypse for another time.

The exhibit leaps forward to the brave aviators
taking aim for the stars—no mention of gas masks,
or trenches of the Somme, no amphibious landing
at Normandy. No mushroom clouds scaling the desert sky.

I follow the hall back to the atrium and think of
the spectators in 1964 who, upon emerging
from the red domed Travelers Insurance Pavilion,
found themselves once again in Queens.
from the book THREE-DAY WEEKEND / Gunpowder Press  
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I'm interested in the ways renderings of the past and future are projections of their present. Growing up, I used to visit a children's museum that had a hall of dioramas tracing the development of humanity. It had originally premiered at the 1964 World's Fair, and it was eerie experiencing it all in a future that had failed to live up to its promise.
 
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