Classic and Contemporary Poetry: Explained

Mark Jarman's poem "A.M. Fog" intricately captures the ethereal and transformative nature of morning fog, weaving together themes of dissolution, perception, and renewal. Through vivid imagery and reflective language, Jarman explores the interplay between the tangible and intangible, the known and the mysterious, creating a rich tapestry of sensory and emotional experience.

The poem begins with a striking metaphor: "Night’s afterbirth, last dream before waking, / Holding on with dissolving hands," suggesting that the fog is the residue of night, clinging to the world as it transitions to day. This description evokes a sense of fragility and impermanence, as the fog is personified, holding on to the remnants of night. The line "Out of it came, not a line of old men, / But pairs of headlights, delaying morning" shifts the focus to the practical intrusion of car headlights, which cut through the fog and momentarily halt the arrival of dawn. This juxtaposition of the ephemeral and the mundane sets the tone for the poem's exploration of liminal spaces.

Jarman continues with sensory-rich imagery: "It felt like tears, like wetted bedsheets, / And suspended in it like a medicine / In vapor was the ocean’s presence, ghost / Of deep water and the bite of salt." Here, the fog is likened to tears and wet bedsheets, emphasizing its dampness and emotional resonance. The presence of the ocean within the fog, described as a "ghost," adds a haunting quality, suggesting the deep, lingering influence of the sea. This connection to the ocean brings a sense of vastness and depth to the otherwise amorphous fog.

The poem then delves into the personal experience of the fog: "Here you found your body again, / The hand before your face and the face it touched, / Eyes floating, feet on invisible ground, / Vagueness like another skin." This passage highlights the disorienting yet intimate nature of the fog, as it envelops the speaker, blurring the boundaries between self and surroundings. The "vagueness like another skin" suggests a merging with the fog, a temporary loss of distinct identity.

Despite this disorientation, there is an inevitability to the morning: "Sent out into it anyway, because it was morning, / To taste it, touch blind hardness / Like marble ruins, and skirt the edges, / Razors in goosedown, hydrants’ fists." The necessity of engaging with the world despite the fog's obscurity is emphasized, as the speaker navigates through familiar yet altered landscapes. The contrast between the softness of "goosedown" and the harshness of "razors" and "hydrants' fists" underscores the dual nature of the fog—both gentle and formidable.

The poem then transitions to a scene of transformation: "Abruptly out of it waves appeared, / Transmuted from hanging silver ore, crafted / Before the eyes into curving metals / That broke into soup scum, Queen Anne’s lace." This vivid imagery captures the fog's metamorphosis into waves, blending the elements of water and air. The transformation of "silver ore" into "curving metals" and then into delicate "Queen Anne’s lace" reflects the fog's ability to shape-shift and reveal unexpected beauty.

As the fog continues to envelop the landscape, it becomes a catalyst for reflection and memory: "Out of a great nothing, a theology. / Out of the amorphous, an edgeless body / Or one like a hunting mass of tendrils / That hurried down the sand, moved by hunger." This passage suggests that within the fog's indistinctness lies the potential for profound revelation and insight. The "hunting mass of tendrils" represents a search for understanding and connection, driven by an insatiable curiosity.

The poem then shifts to a more personal memory: "I remember a gang of friends / Racing a fog bank’s onslaught along the beach. / Seal-slick, warm from the sun / This thing would eat, they ran laughing." This nostalgic scene captures the carefree joy of youth, contrasted with the consuming nature of the fog. The friends' laughter and warmth stand in stark relief against the advancing fog, highlighting the fleeting nature of such moments.

In the concluding stanza, the fog is depicted as a pervasive, almost sentient presence: "All morning bathed in a dovelike brooding. / The fog satisfied itself by overwhelming / The meagre dew, watering the doors / Of snails, the leeward mold, and held still." The fog's "dovelike brooding" suggests a quiet, contemplative quality, as it envelops and nurtures the small, overlooked aspects of the world. This stillness and nurturing presence contrast with the earlier scenes of disorientation and transformation.

The poem ends with a moment of clarity: "And then near noon there was a concentration / As if the sky tried to find a slippery word / Or remember—that’s right—remember / Where it was in an unfamiliar bedroom. / And knew. And switched the light on. Wide awake." This final image of the sky "remembering" and "switching the light on" signifies the return of clarity and awareness, as the fog dissipates and the world re-emerges in sharp focus. The transition from fog to light symbolizes the movement from confusion to understanding, from the unknown to the known.

"A.M. Fog" by Mark Jarman masterfully captures the ephemeral nature of fog and its capacity to transform perception, evoke memories, and reveal hidden truths. Through rich, evocative imagery and thoughtful reflection, Jarman invites readers to explore the boundaries between the tangible and the intangible, the known and the mysterious, and the enduring beauty found in moments of transition.

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