Classic and Contemporary Poetry: Explained

Lawrence Ferlinghetti's poem "And Pablo Neruda / That Chilean Omnivore Of Poetry" offers a vibrant tribute to both Pablo Neruda and the Beat poets who redefined the American literary landscape. Ferlinghetti juxtaposes Neruda's expansive, inclusive vision of poetry with the Beat movement's revolutionary spirit, reflecting on how both influences shaped the poetic culture of their time.

The poem opens with a description of Pablo Neruda as "that Chilean omnivore of poetry / who wanted to put everything in / and take nothing out (of his "Canto General")." Ferlinghetti immediately identifies Neruda as a poet of abundance, whose epic work "Canto General" aimed to encapsulate the entirety of Latin America's historical and natural beauty. By calling him an "omnivore," Ferlinghetti portrays Neruda as someone who devours the world with insatiable curiosity, seeking to include every detail in his poetry.

Ferlinghetti then recalls a personal encounter with Neruda in Havana in 1959, when Neruda praised Ferlinghetti's "wide open poetry." The phrase "wide open poetry" evokes a spirit of inclusiveness and boundary-breaking, which Neruda found in "a certain kind of poesía norteamericana." This type of American poetry, represented by the Beat poets, rose above the constraints of tradition and "tenement boneyards," transforming "madness" into "a hundred years of beatitude."

Ferlinghetti sharply contrasts this Beat spirit with the more conservative literary establishment of the time. The poem criticizes "Joe Public" who found traditional poetry "So boring I'm snoring" before the Beats arrived and "busted out the sides of / Poetry Chicago and various New Yorkerish / poetasters." The reference to "Westchester cradles" and "the Algonquin" underscores the privileged, insular nature of the literary elite, whose "lady critics and gent professors / moaned about poetic pederasts / at Columbia." Here, Ferlinghetti points to the prejudices and biases that the Beats faced from the academic and literary circles.

In contrast, the Beats "cruised Times Square and America / and cruised into history / 'waving genitals and manuscripts.'" This bold imagery of cruising and waving manuscripts emphasizes the Beats' unapologetic defiance and their desire to push boundaries, both sexually and creatively. They "tuned their holy unholy voices / to a wide open society / that didn't yet exist," meaning that the Beats envisioned and created a new kind of poetic society that transcended societal norms and restrictions.

Ferlinghetti further illustrates the transformative impact of the Beat movement, claiming that they "jump-started / the stalled merry-go-round / of American ecstasy." This metaphor implies that the Beats reinvigorated American literature and culture, injecting new life into it after a period of stagnation. The movement brought back the spirit of Walt Whitman, who had "stepped off / Brooklyn Ferry / into the heart of America," leaving a legacy of inclusiveness and celebration of diversity.

In "And Pablo Neruda / That Chilean Omnivore Of Poetry," Ferlinghetti bridges the gap between Neruda's expansive vision and the revolutionary spirit of the Beats. The poem highlights the importance of pushing artistic boundaries and embracing a more inclusive, liberated form of expression. Ferlinghetti pays homage to the way Neruda and the Beats transformed poetry into a tool for rebellion and ecstasy, reshaping the American literary landscape in the process.

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