Classic and Contemporary Poetry: Explained

"Poem" by Charles Bernstein engages with the fluid and often elusive nature of perception, memory, and expression. The poem itself acts as a canvas upon which Bernstein paints a series of images and ideas that defy straightforward interpretation, embodying the complexity and indeterminacy at the heart of poetic endeavor. Through a collage of sensory impressions, abstract concepts, and fragmented thoughts, Bernstein invites the reader into a space where the boundaries between the internal and external, the tangible and intangible, are blurred.

The opening imperative, "here. Forget," sets the tone for the poem, suggesting both a grounding in the present moment and an invitation to release preconceived notions or memories. This dichotomy between presence and absence, remembering and forgetting, runs throughout the poem, reflecting the inherent tensions in the act of perceiving and creating.

Bernstein's reference to "tones / cloudy, breezy / birds & so on" immediately situates the poem within the realm of the natural world, yet the subsequent line, "Sit down with it," implies a contemplative engagement with these elements rather than mere observation. This engagement is not passive but an active "transform[ation]" of "silence, trees / commitment, hope" and the ineffable "thing inside you." The poem thus becomes a site of transformation, where the external world and internal states intermingle and reshape one another.

The invocation of "flow, this movement of eyes / set of words" suggests the dynamic process of reading and interpreting, highlighting the fluidity of meaning and the active role of the reader in constructing significance from the text. The poem's imagery, shifting from the cosmic ("comets, 'twirling planets, / suns, bits of illuminated pumice'") to the mundane ("Your clothes, for example / face, style"), underscores the vast range of human experience and the myriad ways in which we seek to understand and articulate our place within it.

Bernstein's use of quotations, such as "Newer Limoges please," "flutter & cling," and "flame on flare," adds layers of ambiguity, suggesting both the presence of other voices within the poem and the fragmentation of discourse. These quotations act as interjections, disrupting the flow of the poem and challenging the reader to navigate the shifts in tone and perspective.

The poem's reflection on mediocrity, purpose, and perception ("radiate mediocrity / coyly, slipping" and "Your eyes / glaze / thought stumbles, blinded") speaks to the difficulties of achieving clarity or certainty in a world saturated with information and stimuli. The admonition, "But do not be delighted yet," serves as a caution against premature satisfaction or understanding, emphasizing the poem's resistance to closure or easy interpretation.

In its closing lines, "Poem" returns to the act of creation ("Take out pad & pen / crystal cups, velvet ashtray") and the ongoing negotiation between expression and evasion ("evasive, unaccountable"). The final image of the poem, "a bulk of person / 'ascending,' 'embodied,'" suggests both a culmination and a continuation, a moment of transcendence that is inseparable from the physicality and imperfection of human existence.

Through its dense imagery, shifting perspectives, and thematic complexity, "Poem" encapsulates Bernstein's engagement with the possibilities and limitations of language. The poem challenges readers to embrace uncertainty and to recognize the beauty and profundity in the attempt to communicate and connect, even in the face of ambiguity and the inevitable gaps between expression and understanding.

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