Classic and Contemporary Poetry: Explained

Kenneth Patchen’s "There Are Two" is a surreal, fragmented exploration of dissatisfaction, absurdity, and the futility of the search for happiness. The poem unfolds like a monologue, meandering through disjointed observations and humorous, almost nonsensical dialogue. Beneath its quirky surface lies a deeper commentary on the human condition—the desire to find meaning in a world that often feels chaotic and indifferent. Patchen’s use of mundane details, surreal imagery, and sudden emotional outbursts creates a piece that is both darkly comedic and profoundly reflective.

The poem begins with the ambiguous statement: "There are two / Ways about it." This opening suggests a simple dichotomy, perhaps a choice or two possible perspectives on a situation. However, the next line immediately undercuts this simplicity: "In fact, that only scratches the surface." The speaker hints that what appears straightforward is, in reality, far more complex. This sets the tone for the rest of the poem, where seemingly mundane observations give way to surreal or existential musings.

The focus then shifts to an unusual preoccupation with weeds: "had you seen the weeds, the weeds—even those weeds growing just below the outer edge of the wall! that would fix you!" The repetition of "weeds" emphasizes their strange significance. Weeds, typically dismissed as unwanted plants, are given an almost mystical importance here. The description of them as "crested... tubular... a few with—well, sort of hands..." pushes the imagery into the surreal, transforming ordinary vegetation into something uncanny, even sentient. This fixation on the weeds suggests that the speaker sees something in them—a metaphor for the unnoticed or unwanted elements of life that, when scrutinized, reveal deeper discomforts or truths.

The speaker recounts telling his friend Flip to deal with the weeds, but Flip is preoccupied with his car. This interaction is both humorous and telling. While the speaker is absorbed by the strange significance of the weeds, Flip is focused on something mundane and mechanical: "the first thing he said was: / 'Do you want that other set of pipes inside, or do you want them curled around the hood?'" This divergence in focus highlights a key theme in the poem: the disconnect between people’s inner experiences and their outward actions. The absurdity peaks when the speaker responds with, "curled around would be just dandy as a pair of little pink panties." The comparison is unexpected and comical, illustrating the speaker’s playful irreverence but also hinting at an underlying frustration with the triviality of the conversation.

As the poem progresses, the speaker reflects on his original purpose: "Sure, I had come there looking for that elusive oyster, happiness." The metaphor of happiness as an "elusive oyster" is both whimsical and poignant. Oysters are hidden, difficult to find, and often associated with pearls—symbols of rare beauty or treasure. However, the speaker describes happiness as a "goddam little sad-faced, buck-toothed oyster," infusing the image with a sense of mockery and disillusionment. This suggests that even if happiness were found, it might not live up to expectations; it might be awkward, disappointing, or simply unattainable. The speaker’s rhetorical question—"And what had I got? Do I really have to tell you?"—implies that the answer is obvious: not happiness, but more frustration and absurdity.

The climax of the poem arrives when the speaker, in a fit of exasperation, climbs the wall: "After a while I went out and climbed up on top of the wall." This physical act represents a symbolic attempt to rise above his dissatisfaction, to gain a new perspective. However, it begins to rain—“in the large economy size buckets”—an exaggerated, humorous description that underscores the sense of cosmic irony. The rain, instead of offering a cleansing or transformative experience, seems to mock the speaker’s efforts.

In a dramatic gesture, the speaker tears up his identification papers and strips down, leaving only "one shoe and my hat on." This act of shedding his identity suggests a desire to escape societal expectations or personal burdens. It is both a rejection of the self and an attempt at liberation. Standing "on my hind legs," the speaker shouts, "Enough's enough, you lousy, scrounging bastards! I'm off to join the Indians, see!" This declaration is both absurd and telling. The idea of "joining the Indians" evokes a romanticized notion of escaping modern civilization for a more “authentic” life, but the speaker’s tone and context suggest that even this escape is tinged with irony and futility.

The final twist comes when the speaker removes his other shoe and adds: "And while you're about it, to hell with the Indians too, for that matter!" This complete reversal underscores the speaker’s existential frustration. No solution—whether assimilation into society or rebellion against it—can provide the fulfillment he seeks. The rejection of both civilization and the imagined alternative reflects a deeper nihilism, a recognition that meaning or happiness may be fundamentally elusive.

Structurally, the poem’s meandering, conversational tone mirrors the speaker’s mental state: restless, disjointed, oscillating between humor and despair. Patchen employs surreal imagery and absurdist dialogue to blur the line between the mundane and the profound, inviting readers to question the seriousness of the speaker’s plight even as they recognize its universal resonance. The mix of humor and existential angst is characteristic of Patchen’s style, using the absurd to highlight deeper truths about the human condition.

In "There Are Two," Patchen crafts a narrative that is as much about the search for meaning as it is about the inevitable disappointment that follows. The speaker’s journey—from fixating on weeds to dramatic declarations of escape—reveals the absurdity inherent in the human pursuit of happiness. Through humor, surreal imagery, and fragmented storytelling, Patchen captures the restless dissatisfaction that defines much of modern life, where neither societal conformity nor rebellion offers true solace. The poem becomes a reflection on the futility of seeking simple answers in a world that resists resolution, leaving readers with both a chuckle and a lingering sense of unease.

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