Classic and Contemporary Poetry: Explained

James Galvin’s poem “Cartography” intricately explores the concept of borders—both physical and metaphorical—through rich, evocative imagery and philosophical reflection. The poem delves into the nature of boundaries, the distinction between right and wrong, and the profound yet elusive idea of beauty that the world can hardly bear.

The poem opens with a striking scene: “Out on the border a howl goes up, skinning the cold air.” This vivid image immediately sets a stark and wild tone, suggesting a place of raw, untamed energy. The following lines, describing a “windrush as if from enormous wings descending” that “slicks the grass down and thumps, and the whole sky bruises,” further intensify this sense of dramatic natural forces at play. The sudden stop of this intense activity “as if there were some mistake” introduces the idea of fleeting moments of beauty that are almost too much for the world to sustain.

Galvin then brings in a layer of philosophical musing: “mortal beauty / This world can't bear, and a skeletal silence / Administrates the clouds, their passages, their dissolutions in light.” Here, the poem reflects on the transient and often unbearable nature of beauty, which leaves behind a profound silence as it passes. This juxtaposition of intense activity and stillness highlights the ephemeral quality of such moments.

The poem transitions to a contemplation of moral boundaries: “Out on the border right and wrong are more distinct, / But the border itself is suggestive, permissive, a thinly dotted line.” This passage suggests that while moral distinctions may seem clear, the actual borders that delineate them are ambiguous and open to interpretation. The metaphor of the border as a “thinly dotted line” emphasizes its fragility and the subjective nature of boundaries.

Galvin’s imagery of “amassed armies of forests and grasses” that “poise, / Encroach, but never cross” speaks to the tension and balance at these borders. Even the sky respects these boundaries, reinforcing the idea that borders, while invisible, exert a powerful influence. The second howl, initially perceived as a threat, is revealed to be “an invitation to an interior,” suggesting that what lies beyond the border is not necessarily dangerous but perhaps a call to deeper understanding or exploration.

The poem’s focus shifts to the act of map-making: “The border / Halves a piece of paper into here and hereafter. / A man, himself a fascicle of borders, draws a map and can't stop drawing / For fear of bleeding, smudging, disappearance.” This metaphorical map-making highlights the human tendency to create boundaries and the anxiety associated with maintaining them. The fear of “bleeding, smudging, disappearance” reflects the fragility of these constructs and the constant effort required to preserve them.

As the man continues to draw, the map becomes so detailed that “the page will be completely / Obscured by detail.” This suggests that in the attempt to define and understand every aspect of the world, the original simplicity is lost, leading to a kind of overwhelming complexity. The introduction of a “third howl” implies an escalation or a further call to awareness, marking another profound moment of realization.

The poem concludes with a succinct yet powerful summary of the nature of borders: “Three things about the border are known: / It's real, it doesn't exist, it's on all the black maps.” This paradox captures the essence of borders as both tangible and intangible, a construct that is recognized universally yet remains fundamentally elusive.

“Cartography” is a profound meditation on the nature of boundaries, the fleeting beauty of the world, and the human endeavor to map and understand the complexities of existence. Through Galvin’s masterful use of imagery and reflective tone, the poem invites readers to consider the delicate balance between delineation and fluidity, and the profound implications of the borders we create in our minds and in the world.

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