Classic and Contemporary Poetry: Explained

Philip Levine's "On the Corner" captures a brief yet evocative moment set against the backdrop of a late-night urban scene, focusing on the figures of Art Tatum and a young bass player. Through rich, sensory details and subtle dialogue, the poem explores themes of anticipation, urban life, and the transient nature of time.

The poem begins with a vivid image: "Standing on the corner until Tatum passed blind as the sea, heavy, tottering on the arm of the young bass player, and they both talking Jackie Robinson." This introduction immediately situates the reader in a specific place and time, emphasizing the physical presence and condition of Tatum, who is described as "blind as the sea." The comparison to the sea suggests depth and vastness, reflecting Tatum's significant presence despite his blindness.

The setting is late at night, outside the Flame Show Bar, which is "crashing for the night," indicating the end of its bustling activities. Even Johnny Ray, a popular singer of the time, is calling it quits, signifying the winding down of the evening's events. The dialogue between Tatum and the bass player centers on baseball legends Jackie Robinson and Willie Mays, infusing the scene with a sense of admiration and excitement: "Tatum said, Can't believe how fast he is to first. Wait'U you see Mays the bass player said."

This conversation highlights the cultural significance of these athletes and their impact on the imaginations of those discussing them. The mention of Jackie Robinson, who broke the color barrier in Major League Baseball, and Willie Mays, known for his incredible speed and skill, adds a layer of historical and cultural context to the poem.

The imagery of "Women in white furs spilled out of the bars and trickled toward the parking lot" evokes a sense of glamour and nightlife, contrasting with the more somber and quiet mood of the scene as it unfolds. The impending rain, with "coming straight down," and the man in the brown hat who "never turned his head up," further contribute to the atmosphere of resignation and routine.

Levine's description of the environment—"The gutters swirled their heavy waters, the streets reflected the sky, which was nothing"—captures the physical and metaphorical reflection of emptiness. The streets mirroring a blank sky emphasize the sense of void and the cyclical nature of urban life.

As Tatum and the bass player move on, Levine focuses on Tatum's movements: "Tatum stamped on toward the Bland Hotel, a wet newspaper stuck to his shoe, his vest drawn and darkening." The wet newspaper and darkening vest symbolize the weariness and the burdens carried by individuals navigating through the night. Despite these burdens, Tatum expresses a sense of anticipation: "I can't hardly wait, he said."

This final line, "I can't hardly wait," encapsulates the enduring human spirit of hope and expectation, even in the face of daily struggles and the mundanity of life. It suggests a forward-looking optimism, perhaps towards the next performance, the next encounter, or the next day.

"On the Corner" by Philip Levine is a poignant snapshot of a moment in time, capturing the essence of urban nightlife, the cultural zeitgeist, and the personal interactions that define our experiences. Through detailed imagery and evocative dialogue, Levine brings to life a scene that resonates with both historical significance and timeless human emotions.

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