Ron Padgett’s "After Reverdy" is a sparse, dreamlike meditation on love, absence, and the strange ways in which memory and presence intertwine. The title signals an homage to Pierre Reverdy, the French poet known for his surreal, fragmented lyricism and his emphasis on emotional states over narrative clarity. Padgett adopts a similar style, using abrupt shifts, plain language, and unexpected imagery to create a poem that feels both deeply personal and disorienting, as if it exists in the liminal space between recollection and encounter. The poem opens with an assertion of emotional distance:
"I would never have wanted to see your sad face again"
This declaration, though direct, is ambiguous—does it stem from pain, regret, or self-protection? The absolute nature of "never have wanted" suggests that the speaker had resolved to move on, but the mention of "your sad face" hints at unresolved emotions. The sadness in the face is not just observed but remembered, implying a relationship where sorrow played a defining role. The next lines, "Your cheeks and your windy hair," introduce sensory details that make the remembered figure more tangible. The phrase "windy hair" suggests movement, perhaps a past moment when this person’s hair was lifted by the wind. The combination of cheeks and hair evokes an intimate familiarity—the way one remembers someone they have loved not as a whole, but in fragmented, sensory impressions. The poem then expands outward:
"I went all across the country / Under this humid woodpecker / Day and night / Under the sun and the rain."
Here, movement becomes a kind of exile. The speaker’s journey "all across the country" suggests an escape or an attempt to leave something behind. The phrase "humid woodpecker" is peculiar—combining an environmental condition (humidity) with a living creature. This surreal touch feels Reverdy-like in its unexpected juxtaposition, as if the world itself has taken on an oddly poetic quality during the speaker’s wandering. The repetition of "under"—"under the sun and the rain"—reinforces a sense of endurance, as if the speaker has been exposed to time and nature’s elements while carrying this unresolved emotional weight. The poem then circles back to the present moment:
"Now we are face to face again / What does one say to my face"
The encounter that the speaker had seemingly sought to avoid has arrived. The phrasing "we are face to face again" suggests inevitability, as if despite the journey, the past cannot be escaped. The rhetorical question, "What does one say to my face," shifts the focus inward. Instead of wondering what to say to the other person, the speaker questions what could possibly be said to them. This moment breaks the conventional emotional logic of a reunion—rather than asking what one should say to a lost love, the speaker focuses on their own presence, as if the act of being seen is itself unsettling. The final lines take an almost fable-like turn:
"Once I rested up against a tree / So long / I got stuck to it / That kind of love is terrible."
This is the most striking image in the poem—simple, strange, and devastating. The idea of resting up against a tree so long that one gets stuck is both surreal and deeply metaphorical. It suggests an attachment so prolonged that separation becomes impossible or painful. The tree, often a symbol of strength and rootedness, here becomes a trap—an unintended entanglement. The closing line, "That kind of love is terrible," is both blunt and profound. There is no elaboration, no dramatic flourish—just the recognition that some love, particularly the kind that lingers too long, can turn into something suffocating, immobilizing, even unnatural. Padgett’s "After Reverdy" captures the essence of emotional ambivalence—longing mixed with avoidance, memory mixed with estrangement. The poem resists sentimentality, favoring an almost dispassionate, matter-of-fact tone that makes its final revelation all the more affecting. Like Reverdy, Padgett uses spare language and striking juxtapositions to create a sense of emotional weight that feels both abstract and deeply personal. In the end, the poem leaves us suspended in that space between recognition and regret, where love, like an old tree, can hold us long after we thought we had moved on.
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