Classic and Contemporary Poetry: Explained

In Marge Piercy's "Coming Up on September," the poet encapsulates the transition from summer to autumn while exploring themes of reflection and renewal, especially pertinent in the context of the Jewish High Holidays. The poem begins with a vivid description of white butterflies, detailed with "single black fingerpaint eyes on their wing," symbolizing both the simplicity and complexity of nature as they "dart and settle, eddy and mate over the green tangle of vines in Labor Day morning steam." This initial image sets the scene of late summer, a time of both culmination and impending change.

Piercy then delves into the sensory richness of the season, depicting it as a period where "the year grinds into ripeness and rot." This duality—ripeness and rot—serves as a metaphor for the natural cycle and the human condition. The imagery of "grapes darkening, pears yellowing," and "the first Virginia creeper twining crimson" illustrates the inevitable progression towards autumn, where beauty and decay coexist. The description of "the grasses, dry straw to burn" hints at both the end of growth and the preparation for new beginnings.

As the poem transitions into the latter half, Piercy introduces a contemplative tone. "The New Year rises, beckoning—across the umbrellas on the sand." Here, the New Year symbolizes a threshold, a time for introspection. The speaker begins to "reconsider my life," questioning "What is the fruit of my resolve?" This moment of self-examination is paralleled with turning "from my frantic white dance over the jungle of productivity." The mention of a "niggun," a traditional Jewish melody, sliding "cold water down my throat," evokes a sense of spiritual cleansing and renewal. The poet rests "on a leaf spotted red," suggesting a pause in the midst of transformation.

Piercy then invokes the metaphor of a raven, a bird often associated with prophecy and insight, to illustrate the process of reflection: "Now is the time to let the mind search backwards like a raven loosed to see what can feed us." This search for sustenance is both literal and metaphorical, suggesting a need to glean wisdom from past experiences. Simultaneously, there is a forward-looking aspect: "Now, the time to cast the mind forward to chart an aerial map of the months." This imagery emphasizes the importance of planning and envisioning the future, setting intentions for the coming year.

The poem concludes with a powerful metaphor: "The New Year is a great door that stands across the evening and Yom Kippur is the second door." The period between Rosh Hashanah (the Jewish New Year) and Yom Kippur (the Day of Atonement) is depicted as a significant interval for personal reflection and growth. "Between them are song and silence, stone and clay pot to be filled from within myself." These lines suggest a balance of expression and introspection, of tangible actions and inner fulfillment. The poet acknowledges the presence of "both ripeness and rot," the achievements and failures, and the need to discern what to "let go with the waning days and what I must take in." The final image of harvesting "the fruit of our lives" with "the last tomatoes" reinforces the cyclical nature of growth, decay, and renewal.

Through rich imagery and reflective tone, "Coming Up on September" invites readers to embrace the natural cycles of change and the opportunities for introspection that come with the transition into autumn and the Jewish High Holidays. Piercy masterfully intertwines the external transformation of the seasons with the internal journey of self-assessment and renewal, encouraging a thoughtful engagement with both the past and the future.

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