Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker's poem "Birdcall" is a meditation on communication, existence, and the intertwining of life and death, all conveyed through the simple yet profound interaction of birdcalls. The poem explores how the natural world, through the calls of birds, embodies a deeper, almost primal form of language and connection that resonates with human experiences and emotions.

The poem begins with the sound of a bird's call—"Tuwee"—echoing near the house, quickly answered by another bird downhill in the woods. This exchange, "as if engaged / In a conversation expected to continue all afternoon," sets the tone for the poem as a contemplation of the enduring and cyclical nature of communication in the natural world. The repetition of the birdcall suggests not just a simple query and response but an ongoing dialogue that has persisted for "tens of thousands of years." This conversation, though seemingly mundane, is a "genetic libretto," a script written into the very DNA of these creatures, a ritual that leaves its "indelible trace" on the world.

Ostriker skillfully compares this natural exchange to the "clawprint of language," implying that even the simplest sounds carry the weight of history, evolution, and survival. The birdcall becomes a symbol of life's inherent drive to communicate, to connect, and to assert existence. The phrase "dense winged seed" suggests that these calls are like seeds, carrying potential and continuity, a fundamental part of life's ongoing story.

The poet's personal reflection—"I am happy to lie in the grass and listen, as if at the dawn of reason"—positions the speaker as an observer, almost in awe of the simplicity and profundity of the birdcalls. The natural world, in this moment, is both a comfort and a source of profound insight, as the birdcalls embody "the clear communal command / That is flinging creaturely will into existence." This command, driven by "desire survival, / Liberty, companionship," resonates deeply, connecting the speaker with the primal forces that shape all life.

As one of the birds near the speaker falls silent, leaving only the distant call of the other bird in the woods, the poem shifts in tone. The call, "I’m here, I’m here," becomes more than just a simple assertion of presence; it transforms into an "entreaty," an expression of "anxiety," and ultimately, a reflection of life itself. The bird's call echoes the themes of longing and separation found in Walt Whitman’s "Out of the Cradle," where the song of a lovebird mourning its absent mate introduces a child to the concept of death. This connection to Whitman deepens the poem’s exploration of life’s fragility and the inevitable approach of death.

The reference to Whitman’s ocean whispering "Death, death, death" and Elizabeth Bishop’s teapot "whistles a song of presence and departure" further underscores the poem's meditation on mortality. The birdcall, like Whitman’s ocean or Bishop’s teapot, becomes a symbol of the coexistence of life and death, presence and absence. These elements of nature and domestic life sing a "song of presence and departure," simultaneously offering comfort and evoking the sorrow of loss.

The poem concludes with a poignant reflection on this duality: life’s inherent beauty and its inevitable end are both celebrated and mourned. The birdcalls, which began as a simple exchange, now resonate with the full weight of existence—"creating comfort but also calling for tears." Through this exploration, Ostriker invites readers to consider how even the smallest aspects of the natural world reflect the larger truths of life, death, and the enduring need for connection.

"Birdcall" is a beautifully layered poem that uses the seemingly simple act of birds communicating to explore profound themes of existence, survival, and the bittersweet nature of life. Through vivid imagery and rich allusions, Ostriker captures the essence of life’s ongoing dialogue and the delicate balance between presence and absence, joy and sorrow, that defines the human experience.

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