Classic and Contemporary Poetry: Explained

In "Social Constructions of Reality at Coney Island: 1. Ideal Disorders", Irving Feldman explores the interplay between order and disorder within the chaotic yet joyful setting of Coney Island. The poem uses the concept of "social constructions" to contrast the intended organization imposed by authorities with the spontaneous energy of the public's unrestrained enjoyment. Through vivid imagery and rich metaphors, Feldman captures the vibrant spirit of Coney Island, reflecting on how different ideas of reality coexist within a shared space.

The poem begins by juxtaposing two contrasting ideas of order at Coney Island. The "Miles of rows of orange trash cans all ah-ing to the sky" represent one person's "idea of order." The anthropomorphized trash cans, "ah-ing," evoke a humorous yet eerie image, as if they're opening their mouths in a collective chant toward the heavens. They symbolize an attempt to impose organization on the chaotic environment. Similarly, the "morning crew's ragged line and lowered eyes" and the "Parks Department foragers in green straggling on heavy shoes" represent another attempt to maintain cleanliness and order, with the workers "dreamily lancing gum wrappers into canvas bags."

However, Feldman immediately contrasts these sterile constructions with the public's own idea of fun, which "was more like disorder, more like just dropping public verticality for open lolling about and wallowing, down at sea level, off-guard, up-ended." Here, Feldman contrasts the "public verticality" of societal norms and decorum with the liberating "open lolling" of individuals at the beach. The imagery of people "down at sea level" and "up-ended" evokes a sense of relaxation and freedom, where everyone can shed their formal personas and embrace a state of joyful disarray.

The poem continues with a celebration of collective humanity: "more like everybody getting together and making a sea of 'all of us' alive beside the sea, ourselves earth's numberless sands outfacing the mirror shattered below the whole sky." The metaphor of "earth's numberless sands" connects humanity to the natural world, creating a sense of unity. The "mirror shattered below the whole sky" reflects the chaotic beauty of the sea and sky, capturing the boundless energy of the beachgoers. Feldman conveys the exuberance of the crowd as "bee-lines over bodies" and "shortcuts swarming toward pleasure," painting a lively picture of people moving with purpose yet joyfully disregarding societal norms.

In this context, "half the fun was keeping it short," emphasizing the immediacy and urgency of pleasure-seeking. Feldman describes the beach scene as "our thatch and hubbub, our pullulation, of crossing purposes filling the silence on the waters." The word "pullulation" (meaning rapid breeding or spreading) suggests a vibrant and organic growth of people and purposes, while "crossing purposes" reinforces the idea of individuals joyfully following their own paths.

The climax of the poem arrives with the community’s collective celebration at "three, at half past three exactly." Feldman describes how "we hurled off a blanket to the day's height, the flying youth and cheering crowd—the sun!" This exuberant action symbolizes the community's triumph over the imposed order, revealing the pure joy of being alive and together. The sun itself becomes a symbol of shared celebration and unity, shining brightly over the jubilant crowd. The poem concludes with "peopled space with celebration," affirming the collective spirit that transforms a chaotic beach into a harmonious expression of humanity.

Structurally, "Social Constructions of Reality at Coney Island: 1. Ideal Disorders" flows naturally with free verse, allowing Feldman to move seamlessly between contrasting ideas and vivid imagery. The lack of strict form mirrors the disorderly yet joyful energy of Coney Island itself.

Overall, Feldman’s poem is a vibrant exploration of the contrast between imposed order and spontaneous joy. He critiques the artificial attempts to control and organize human behavior, celebrating instead the unrestrained and unpredictable nature of collective human enjoyment. By capturing both the beauty and chaos of Coney Island, Feldman reveals the rich tapestry of human experience and the power of shared celebration.

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