Classic and Contemporary Poetry: Explained

"Barefoot Homiletics, After Wittgenstein and Boswell" by Alan Dugan presents a philosophical reflection on human experience, perception, and existence through the metaphor of walking barefoot. Dugan’s exploration is framed within a dialogue with the ideas of Ludwig Wittgenstein, specifically his notion that "The universe is everything that is the case," as well as Boswell’s literary sensibilities. This poem navigates the textures of life’s path—literal and metaphorical—using the sensations of walking barefoot as a conduit for deeper understanding.

The poem opens with a temporal journey through the day, expressed through natural elements and sensations: "Dew in the morning, dust at noon, soreness in the evening, rest in brine." Each phase reflects a different aspect of the barefoot experience, symbolizing the freshness of morning, the harshness of midday, the weariness of evening, and the healing properties of night. This sequence not only describes a day in the life of feet but also mirrors the human lifecycle and the changes in our perceptions and reactions over time.

Dugan then delves into the human condition from a vertical and horizontal perspective, exploring how physical orientation ("Vertical soles all night, sideways in-colloquy, toes down in sex or up, depending on the gender, depending on the case.") impacts our experiences and interactions. This part highlights the intricate dance between physicality and the philosophical states of being, weaving sexuality and conversation into the framework of existential inquiry.

Quoting Wittgenstein, "The universe is everything that is the case," Dugan anchors the poem in a philosophical discourse about reality and its perception. The experiences of stubbing toes and encountering rocks symbolize unexpected truths and the rough realities of life. For the "tenderfoot," life is full of detours and pain, while the experienced, represented by "calluses," find it traversable. This metaphor extends to the discussion of courage and philosophy, contrasting "bootless courage" with "shoe philosophy," where the former represents raw, unmediated engagement with the world, and the latter a more protected, possibly detached intellectualization of existence.

The poet's admonition to "watch your step" serves as practical advice and a philosophical guideline, implying that mindfulness and awareness of one’s environment are crucial, both for physical safety and metaphysical understanding. The mention that "feet have their feelings too" personifies feet, giving them a status that demands consideration and respect, reflecting back on the necessity to attend to the often overlooked or undervalued aspects of our being.

Dugan further challenges the perception of what is visible and tangible, questioning the nature of surfaces and interfaces. The grass, with its tickling sensation, serves as a reminder that what lies beneath our feet (or our perceptions) is often as significant as what is seen or felt. By stating that the surface is "falsely named the surface," he implies that there is much more beneath what we initially encounter, urging a deeper exploration of reality, which is both "the top of the world and the bottom of the sky to walk on."

The closing line, "So, seek water. Avoid the shod," encapsulates a philosophical urging towards purity (water) and a caution against the conventional or protected paths (the shod), advocating for a life of direct, unshielded engagement with the world.

Through "Barefoot Homiletics," Dugan offers a rich tapestry of philosophical exploration, grounded in the simple yet profound act of walking barefoot, urging readers to reconsider their engagement with the world in a more immediate, unmediated manner. This poem is a call to experience life with all its roughness and beauty, directly underfoot, unshielded and profound.

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