Classic and Contemporary Poetry: Explained

Albert Goldbarth’s poem "Sitting in the Margin" is an evocative exploration of the interplay between communal and individual expression, framed through the lens of religious devotion and romantic longing. Using vivid imagery and intricate connections between different time periods and cultural artifacts, Goldbarth reflects on how personal and collective passions shape our understanding of the world.

The poem opens with a scene of a nun leading her class in singing, the note from her pitchpipe described as "the only real wings in this building dedicated to wings." This imagery immediately sets up a contrast between the spiritual aspirations symbolized by wings and the physical, earthly setting of the classroom. The collective act of puckering and singing symbolizes a shared devotion and a harmonious blending of individual voices into a single communal expression.

Goldbarth then draws a parallel to medieval monks, each in their cell, meticulously copying texts with "a nib and pots of black and gilding." The image of their breaths communing in the vaulting and creating "a single spread of wings" further emphasizes the idea of a collective endeavor, where individual efforts contribute to a larger, unified vision. This vision is anchored in the "encompassing, simple assumption about its passions," suggesting that each generation has its own guiding principles and shared beliefs that inform their actions and expressions.

The poem transitions to the contemporary world with the image of a boy outside St. Mary’s eighth grade. This boy, influenced by modern media—radio, magazines, TV—as well as classical literature and music, embodies the idea of romantic love. His longing and idealism are likened to the resplendent white wings of a brassiere in the winter air, a striking metaphor that captures both the purity and the intensity of youthful desire.

Goldbarth's juxtaposition of different eras and symbols of devotion—whether religious, romantic, or artistic—highlights the continuity of human passion across time. The "white wings" of the boy's romantic fantasies are compared to the "ardor of pain before a marble version of Mary herself," suggesting that the fervor of religious worship and the fervor of romantic love are two expressions of the same underlying human need for connection and transcendence.

The poem culminates in a scene of a department meeting, a mundane and bureaucratic gathering that contrasts sharply with the lofty ideals previously described. Yet even here, Goldbarth finds a connection to the monks’ labor, imagining one monk who, moved by a private impulse, adds a bird in the margin of the text. This act of individual expression within the confines of a collective task symbolizes the tension between conformity and creativity, between public duty and private inspiration.

"Sitting in the Margin" beautifully captures the interplay between communal and individual experiences, showing how personal passions can find expression within and alongside collective endeavors. Goldbarth’s use of rich, layered imagery and his ability to draw connections across different times and contexts make this poem a profound meditation on the nature of human devotion and creativity.

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