Classic and Contemporary Poetry: Explained

In "Some San Francisco Poems: 8. The Taste," George Oppen presents a meditation on history, memory, and the underlying disquiet that permeates modern existence. Through the imagery of old ships, the poem explores the tension between the allure of the past and the unsettling realities of the present, capturing a sense of dislocation and unease that characterizes the human experience in an ever-changing world.

The poem begins with the image of "Old ships," which are "preserved / For their queer silence of obedient seas." These ships, remnants of a bygone era, evoke a sense of nostalgia and reverence for the past. The "queer silence" suggests an eerie stillness, a quiet that is at once peaceful and unsettling. The "obedient seas" imply a world where nature was more predictable, where the relationship between humans and the environment was understood and navigated with a sense of order.

The description of the ships' "cutwaters floating in the still water / With their cozy black iron work" emphasizes the physical presence of these vessels, their solid construction, and the comfort they once provided. However, this coziness is contrasted with the "Swedish seamen dead," whose presence—or absence—haunts the cabins of the ships. The cabins "Hold the spaces of their deaths," turning these once-living quarters into tombs, where the weight of history and the inevitability of death are felt.

Oppen highlights the "hammered nails of necessity / Carried thru the oceans," suggesting that these ships and the men who sailed them were driven by a fundamental need or duty. The "necessity" speaks to the harsh realities of life at sea, where survival depended on strength, skill, and the ability to endure. The imagery of the "moon rises grandly / In the grandeur of cause" reinforces the idea that these sailors were part of something larger, something meaningful, as the grandeur of the moon reflects the grandeur of their purpose.

Despite this romanticized view of the past, the poem shifts to a more critical tone: "We have a taste for bedrock / Beneath this spectacle / To gawk at." This suggests a desire for something solid, something real, beneath the surface-level admiration of history. The "spectacle" implies that the reverence for the past has become superficial, a show to be watched rather than something deeply understood or connected with. The mention of "gawking" adds a layer of detachment, as if the past has become an object of passive observation rather than active engagement.

The poem then introduces a disturbing image: "Something is wrong with the antiques, a black fluid / Has covered them, a black splintering / Under the eyes of young wives." The "antiques" represent the remnants of the past, but they are now tainted by this "black fluid," a substance that suggests corruption, decay, or a creeping sense of doom. The "black splintering" implies that these objects are not just deteriorating physically but are also symbolically fractured, their meaning and value compromised. The "young wives" who observe this decay may represent the next generation, witnessing the disintegration of the world they have inherited.

As the poem progresses, Oppen captures a growing sense of anxiety: "People talk wildly, we are beginning to talk wildly, the wind / At every summit." The "wild" talk reflects a collective unease, a reaction to the unsettling changes and the sense that something is fundamentally wrong. The "wind / At every summit" suggests that this anxiety is pervasive, felt at the highest points, where the wind—representing change or instability—blows most strongly.

The poem concludes with a vivid, almost frantic image: "Our overcoats trip us / Running for the bus / Our arms stretched out / In a wind from what were sand dunes." The overcoats, typically symbols of protection and warmth, now become hindrances, "tripping" those who wear them as they rush for the bus. This could symbolize the ways in which the trappings of the past or old habits are impeding progress or adaptation to the present. The "arms stretched out" convey a sense of desperation or urgency, while the "wind from what were sand dunes" evokes a landscape that has changed, perhaps irreversibly. The sand dunes, once stable, have been reshaped by the wind, much like how the present is reshaping the remnants of the past.

In "The Taste," George Oppen uses rich, layered imagery to explore the tension between reverence for the past and the unsettling realities of the present. The poem reflects on the ways in which history is both preserved and distorted, how the passage of time alters our perception of what once was, and how the modern world is haunted by both the physical and symbolic decay of its foundations. Through his precise language and evocative images, Oppen captures a sense of dislocation and unease, inviting readers to reflect on the complexities of memory, history, and the relentless march of time.

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