Classic and Contemporary Poetry: Explained

Carol Frost's poem "Redfish" navigates the rugged and visceral world of fishing, intertwining the physicality of the sport with philosophical reflections on life and death. Through detailed and evocative imagery, Frost captures the raw and primal nature of fishing, exploring themes of survival, the interconnectedness of all living things, and the acceptance of mortality.

The poem opens with a series of fish names and references, starting with "Loaves and fishes: coelacanth: Bishop's Jewfish." This biblical reference to the miracle of loaves and fishes sets a spiritual tone, while the mention of the coelacanth, a prehistoric fish thought to be extinct until its rediscovery, adds a sense of mystery and continuity through time. The diverse array of fish names that follows— "Tiburon: Eshark: Puffer: Sharksucker: Hammerhead: Gag"—emphasizes the rich variety of marine life and the complexity of the ecosystem.

The description of the fish "in the riven waves and rocking reverie of Florida sun" feeding on grass and each other paints a vivid picture of the natural environment where the poem is set. The imagery of "trailing bait" and the "sweet smell of shrimp on fingers" brings the reader into the immediate, tactile experience of fishing. The "surface of water enameled" suggests a glossy, almost otherworldly quality to the scene, contrasting with the rawness of the act itself.

Frost does not shy away from the brutality inherent in fishing, describing the need to "keep ammonia for catfish spines: loose the eye or pluck it out." These lines highlight the practical and often harsh realities faced by fishermen, underscoring the necessity of certain actions for survival and success. The "lying on the side in water wiggle and flash like resurrection" evokes the powerful and almost spiritual moment of catching a fish, likening it to a resurrection—a sudden burst of life and energy.

The poem then shifts to a personal anecdote: "north wind blew a recent morning like acetylene: mud shone so and was freezing." The sensory details of burning hands and feet, the cold mud, and the upstream pull of the line create a vivid and immersive experience. The speaker's return home, "marked with mud scales and fish slime," signifies the deep connection and impact of the experience. The satisfaction derived from the fight, the iridescence of the fish, and the precise memory of where to place the knife reflect a deep respect and understanding of the process.

As blood swirls down the drain, the speaker finds happiness in the act, suggesting a profound acceptance of the natural cycles of life and death. The final lines— "What are living and dying if not the most natural of ceremonies if practiced: not turned away from: not denied?"—offer a philosophical reflection on mortality. Frost presents living and dying as ceremonies, natural parts of existence that should be embraced rather than feared or ignored.

"Redfish" is a powerful meditation on the interconnectedness of life, the beauty and brutality of nature, and the acceptance of mortality. Through rich, sensory imagery and reflective insights, Carol Frost captures the essence of fishing as both an art and a profound engagement with the natural world. The poem invites readers to consider their own relationship with nature, mortality, and the cycles that define existence.

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