The Good Shepherd by Ai
"The Good Shepherd: Atlanta, 1981" by Ai is a powerful and unsettling poem that delves into the psyche of a murderer inspired by the real-life case of Wayne Williams, who was implicated in the deaths of several Black children in Atlanta during the early 1980s. The poem opens with a visceral portrayal of the killer's actions, as he describes the moment he disposes of a child's body while embodying the victim's experience. This chilling narrative unfolds as the murderer reflects on his actions with dispassionate satisfaction, likening himself to a "good shepherd" while indulging in a mundane act of drinking hot cocoa afterward.
The text also introduces elements of mythology, particularly referencing Saturn, a figure known for consuming his own children, to illustrate the killer's perception of power and divinity over life and death. Through these reflections, the poem raises complex questions about morality, divine justice, and the nature of human violence. It challenges readers to confront the uncomfortable reality that even those who commit heinous acts possess a perspective that, while difficult to empathize with, is still worthy of examination. Ultimately, the poem leaves readers grappling with profound inquiries about accountability and the nature of satisfaction, both divine and human, in a world marred by tragedy and loss.
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The Good Shepherd by Ai
Excerpted from an article in Magill’s Survey of American Literature, Revised Edition
First published: 1986 (collected in Vice, 1999)
Type of work: Poem
The Work
“The Good Shepherd: Atlanta, 1981” was inspired by the case of Wayne Williams, who made headlines by committing a series of murders of black children in and around Atlanta from 1979 to 1981. The poem begins with a graphic description of the murderer pushing a child’s body over an embankment. He identifies with the boy and imagines himself within the dead body: “I watch it roll/ and feel I’m rolling with it.” He speaks of “the little lamb/ I killed tonight,” and then he goes and has some hot cocoa. The murderer then describes washing out the blood that stains his bathroom. He cleans and cleans, then finishes his hot chocolate.
Once again, the reader can understand how this man is thinking. He is clearly pleased by his actions: He is “a good shepherd,” seducing little boys to their deaths. Yet there is more involved here; the killer opens a book on mythology and remarks,
Saturn, it says, devours his children.
This is a rather strange religious statement. Saturn, a god of Roman mythology, killed and ate all of his children except for Jupiter, who escaped and later killed his father, thus becoming king of the gods. It is clear that the murderer is identifying himself with divinity. As a god, he has the right to dispose of his subjects and feels no particular guilt in doing so. The poet’s basic idea is that, ultimately, God is responsible for everything and that humans are merely pawns in a great game. These sometimes destroy other pawns, but it really does not matter, because God is never quite satisfied.
Sin is full of such ideas, but this is an unusually powerful presentation. It is difficult to feel sympathy for a mass murderer, but it is also difficult not to see his way of looking at the situation. Even a man who kills young children has a point of view worth considering. Lastly, there is a sense of satisfaction once the children are murdered and the mess is cleaned up: “Only God is never satisfied,” the killer says. Does this mean that the murderer is somehow more merciful, or more just, than God? This is a question left open by the poem.
Bibliography
Cramer, Steven. Review of Fate, by Ai. Poetry 159 (November, 1991): 108-111.
Kilcup, Karen. “Dialogues of the Self: Toward a Theory of (Re)reading Ai.” Journal of Gender Studies 7, no. 1 (March, 1998): 5-20.
Monaghan, Pat. Review of Fate, by Ai. Booklist 87 (January 1, 1991): 902.
Ostriker, Alicia. Review of Sin, by Ai. Poetry 144 (January, 1987): 231-237.
Seidman, Hugh. Review of Killing Floor, by Ai. The New York Times Book Review, July 8, 1979, 14.
Seshadri, Vijay. Review of Dread, by Ai. The New York Times Book Review, May 4, 2003.