In the remarkable poem, "For a Coming Extinction," addressed to a gray whale, Merwin speaks of the relationship between poetic utterance and history, notably the absence that they both share’
I write as though you could understand And I could say it One must always pretend something Among the dying When you have left the seas nodding on their stalks Empty of you Tell him that we were made On another day
Although the poem commences with a simple request for the beast to forgive those responsible for its destruction, the narrator quickly finds himself in deeper philosophical waters than those transversed by the animal. He asks forgiveness while simultaneously realizing that very notion of forgiveness is a human projection: "we who follow you invented forgiveness / And forgive nothing." The juxtaposition of "follow" and "forgiveness" is charged with significance. We can forgive only by recognizing a transgression that occurred in the past. To invent forgiveness is also to invent history, to invent the idea of one event following another by a reconstitution of the past. Succession, history, inheritance—in short, the thematic concerns of the poem—exist only as part of our need to invent a field for our collective grief. Man is doomed because he must seek history only in order that he might escape it more easily. Forgiveness has no real object; as part of historical association, it is a form of the engineering of recovery posing as charity. The poem itself moves from the natural world (the whale), to its departure
Leaving behind it the future Dead And ours
and thence finally, to a "black garden" and its court—clearly a reference to some new home in a natural science museum. There it joins other extinct creatures, "the Great Auk the gorillas / The irreplaceable hosts ranged countless." The whale has entered the realm of words and hence of history symbolized by the museum replete with white labels showing forth lineage (and hence history) as the juxtaposition of genus and species: gray whale.
From "The Dwelling of Disappearance in W. S. Merwin’s The Lice." Modern Poetry Studies 3.3 (1972)