Classic and Contemporary Poetry: Explained

John Frederick Nims’ "Near the Airport" is a brief yet evocative meditation on technological advancement, juxtaposing the sleek modernity of jets with the more meandering and ornamental nature of clouds. Though only three lines long, the poem encapsulates a striking contrast between the precision and efficiency of human-made flight and the slow, organic drift of nature.

The first line establishes the tone with "Sleek, keen, so now-Superbo-jets that go," immediately immersing the reader in the world of contemporary air travel. The phrase "so now" suggests an admiration for the present moment, emphasizing the cutting-edge quality of these "Superbo-jets." The use of "Superbo" (a hyperbolic, almost playful modification of "superb") highlights the almost excessive impressiveness of modern aviation. The line’s rhythm mimics the swift, effortless motion of jets, reinforcing their speed and efficiency.

The second line, "Cleaving the blue aloofly. Clouds, below," furthers this depiction of separation. The word "Cleaving" is especially effective, as it conveys both precision and division, evoking the sharp slicing motion of jets through the sky. "Aloofly" adds a sense of detachment, suggesting that these human-made machines exist above and beyond the natural world. They move with purpose, indifferent to what lies beneath them.

In the final line, "Mosey like ancient aircraft, rococò," Nims completes the contrast. The word "Mosey" suggests a leisurely, almost aimless movement, directly opposing the controlled and purposeful flight of the jets. The phrase "ancient aircraft" anthropomorphizes the clouds, as if they are outdated relics of a different era of flight, moving at their own slow and graceful pace. The final word, "rococò," is particularly striking. The term refers to the highly decorative and elaborate artistic style of the 18th century, known for its excess, curves, and ornamentation. By describing the clouds as "rococò," Nims suggests that while they may be old-fashioned in comparison to the "Superbo-jets," they possess an intricate beauty of their own.

Structurally, the poem operates in a compact and efficient manner, mirroring the sleekness of the jets while allowing for the more fluid motion of the clouds. The interplay between fast and slow, modern and old, rigid and ornate, makes the poem a meditation on the dual nature of progress. While human technology continues to evolve with efficiency and precision, nature remains steadfast in its own slow, decorative, and timeless rhythm.

Nims’ poem thus captures the inevitable march of progress but also reminds us that older, seemingly obsolete forms—whether of movement, art, or nature—retain their own aesthetic and poetic value. The clouds may not be "now," but in their "rococò" grace, they offer a beauty that contrasts yet coexists with the relentless speed of modernity.

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