Classic and Contemporary Poetry: Explained

Lawrence Ferlinghetti’s poem "A Coney Island Of The Mind: 11" explores the mystical landscapes of the American painter Morris Graves, inviting readers into a world where spirituality, nature, and introspection intertwine. The poem pays homage to Graves's unique vision while reflecting Ferlinghetti's own Beat sensibilities, creating a vibrant interplay between visual art and poetic imagination.

The poem begins by acknowledging the distinctiveness of Graves's artistic vision: "The wounded wilderness of Morris Graves / is not the same wild west / the white man found." Ferlinghetti immediately establishes that this is not the familiar landscape of Western exploration and conquest, but rather "a land that Buddha came upon / from a different direction." The imagery evokes a sense of spirituality and mysticism, contrasting the Western idea of wilderness as something to be tamed with an Eastern perspective that emphasizes introspection and harmony.

Ferlinghetti describes this landscape as "a wild white nest / in the true mad north / of introspection," where Graves's "falcons of the inner eye" soar. The term "inner eye" suggests a kind of visionary perception, one that transcends the material world. These birds "dive and die / glimpsing in their dying fall / all life's memory / of existence," embodying a cycle of life and death that mirrors the introspective journey of the artist. In their final moments, the falcons "draw upon the leaded sky / a thousand threaded images / of flight," creating intricate patterns that reflect the complexity and beauty of life.

Ferlinghetti continues to elaborate on this mystical landscape, describing it as "the night that is their 'native habitat' / these 'spirit birds' with bled white wings." The "spirit birds," with their "bled white wings," seem ethereal and otherworldly. They include "bearded eagles / blind birds singing / in glass fields / these moonmad swans and ecstatic ganders." Each bird evokes a sense of strangeness and spirituality, reflecting Graves's distinctive artistic style. The "glass fields" and "hallucinary moons" enhance the dreamlike quality of the scene, as do the "shrikes seeking to nest / whitebone drones / mating in air / among hallucinary moons."

The poem reaches a surreal climax with the image of "a masked bird fishing / in a golden stream and an ibis feeding / ~on its own breast'." Here, Ferlinghetti references Graves’s painting "Bird In The Spirit" directly, invoking the spiritual symbolism of the ibis as it feeds upon itself. The inclusion of "a stray Connemara Pooka' / (life size)" introduces a mythological element, as the Pooka—a mischievous Irish spirit—adds a touch of whimsy and mystery to the landscape.

Ferlinghetti further illustrates the spiritual journey with the image of "blown mute birds / bearing fish and paper messages / between two streams / which are the twin streams / of oblivion." The twin streams represent the dual nature of existence, between oblivion and awareness, and the "imagination / turning upon itself / with white electric vision / refinds itself still mad / and unfed / among the hebrides." The imagination, in its relentless pursuit of meaning, remains unsatisfied and longing, suggesting a perpetual search for enlightenment.

In "A Coney Island Of The Mind: 11," Ferlinghetti captures the ethereal quality of Morris Graves's work while infusing it with his own lyrical sensibilities. The poem's intricate imagery and rhythmic flow echo the surreal beauty of Graves's paintings, creating a poetic landscape that is as mystical and introspective as the artwork it describes. Ferlinghetti invites readers into a world where the boundaries between reality and imagination blur, offering a glimpse into the artist’s visionary wilderness. Through this vivid interplay between visual art and poetry, Ferlinghetti celebrates the transformative power of the creative spirit.

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