Classic and Contemporary Poetry: Explained

"Maximum Ostentation" by Edward Dorn is a biting critique of modern architectural excesses, emblematic of cultural decadence and the superficiality often found in contemporary urban landscapes. The poem is a sharp commentary on the ways in which architecture, as a form of expression, can reflect broader societal values and flaws. Dorn's use of vivid, sometimes sardonic imagery and metaphor illuminates his disdain for what he perceives as the ostentatious, hollow aesthetics of structures like those found in Kansas City's Hyatt hotels, which he dubs "Hyattecture."

The poem begins by characterizing these architectural feats as "all strut and stage and a cheap high to move through," immediately setting a tone of disapproval. The description suggests that these buildings prioritize appearance—superficial glamour and grandiosity—over substance, offering a transient thrill rather than any lasting value. The choice of words like "strut" and "stage" evokes images of a performance, implying that the architecture is more about putting on a show than about functionality or enduring quality.

Dorn contrasts this modern penchant for spectacle with ancient Egyptian architecture, noting that even though the Egyptians "were not squeamish about slave labor," they would not have approved of the kind of structures exemplified by the Hyatt. This comparison serves to criticize contemporary practices by highlighting a disconnect between the engineering marvels of the past, which were built with a lasting legacy in mind, and the contemporary structures that sacrifice durability and integrity for immediate impact.

The reference to "a structural episode like Kansas City" likely alludes to incidents like the 1981 Hyatt Regency walkway collapse, a tragic event resulting from structural flaws that caused significant loss of life. This historical context deepens the critique, suggesting that the pursuit of grandeur can have deadly consequences when not paired with careful, ethical engineering practices.

Dorn's depiction of the "worn-out lobbyist" drinking "from the cup of absurdity" further expands his critique to include the political and economic systems that support and perpetuate these architectural endeavors. The lobbyist, a symbol of political manipulation and corporate excess, is condemned to sip endlessly from a seemingly inexhaustible source of absurdity, underlining the cyclical, self-perpetuating nature of these excesses in corporate and political arenas.

The imagery of a "dollar bill glued to the floor" arresting "half the parade" is a powerful metaphor for the greed and materialism that Dorn sees as pervasive in modern society. This scene acts as a social experiment revealing human nature's susceptibility to greed, illustrating how easily people are distracted and ensnared by the lure of money.

Dorn concludes with a description of the building’s "Dizzying verticalities of glass" launching "as from Cape Canaveral," likening the towering glass structures to rockets. This simile captures the soaring ambitions and the almost aggressive assertiveness of such architectural projects, while also hinting at their potential for disaster.

Overall, "Maximum Ostentation" uses the setting of a grandiose hotel to critique broader societal issues—superficiality, greed, and the disconnect between modern achievements and their ethical and practical implications. Through this poem, Dorn invites reflection on what we value as a society and the consequences of our choices in expressions of culture and progress.

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