Classic and Contemporary Poetry: Explained

Alice Fulton's poem "It Might Mean Immersion, That Sign" explores the subtle, often overlooked elements that bind together larger structures, whether in language, architecture, or nature. Through a series of intricate metaphors, Fulton delves into the significance of these unconsidered spaces and their essential role in maintaining coherence and meaning.

The poem opens with a reflection on the title, which the speaker interprets as a sign of "immersion." This immersion is likened to a bride, a term that evokes both marriage and the delicate threads in lace. Fulton describes these threads as "recessive," emphasizing their deferential role in forming "space around the firm design." This imagery sets the stage for a meditation on the invisible yet crucial components that support and shape visible structures.

Fulton draws a parallel to the "mortar between the silo's bricks," an element that is essential for stability yet rarely noticed. The tiles' copper, compared to the "robin's breast abstracted into flat," further illustrates the transformation of natural beauty into functional design. This abstraction process highlights how utilitarian elements often derive from intricate, natural sources.

The poem continues with the idea of a "seam made to show," a visible constructivist touch that adds depth and complexity. The "double equal" sign, which is "nowhere to be found in math," represents a symbolic, almost poetic addition that defies conventional logic. The "dash to the second power" symbolizes an intensified break, pushing the boundaries of traditional punctuation and syntax.

Fulton then transitions to the acoustic and thermal properties of these subtle signs, suggesting that they might reveal "the acoustic signals / of things about to flame" or allow "thermal expansion" to become "syntactical." This personification of physical phenomena as linguistic tools highlights the interconnectedness of natural and constructed worlds.

The poem discusses the reticence of commas, comparing them to invisible yet necessary pauses in writing. The speaker advises against anger or protest, as the comma's transparency is its strength. This reflects the idea that the most powerful elements are often those that go unnoticed, seamlessly integrating into the background.

Fulton challenges the notion of the "natural" in poetry, questioning why we use lines, stanzas, and meters if not to disrupt the ordinary. Poetry, she argues, contests the natural by leaving a wake, like "wheels on snow" that tread without destroying the mystery. This treading "hinges / one phrase to the next," connecting thoughts and images in a continuous, evolving flow.

The final stanza ties these ideas together, suggesting that the sentence, like the snow, is composed of elements that are both visible and invisible. The "mortar between winter's bricks" and the "wick that is / the white between the ink" symbolize the hidden yet essential components that give structure and meaning to the whole.

"It Might Mean Immersion, That Sign" is a contemplative exploration of the often unnoticed elements that underlie and support our understanding of the world. Through her rich and evocative imagery, Alice Fulton invites readers to appreciate the delicate, interstitial spaces that connect and sustain the larger structures of language, nature, and human experience.

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